CHRISTIAN BONNEFOI
SARAH CHARLESWORTH
LIZ DESCHENES
ROE ETHRIDGE
JUTTA KOETHER
DANIEL LEFCOURT
VALENTINA LIERNUR
JASON LOEBS
SCOTT LYALL
NICK MAUSS
CHARLES MAYTON
JOHN MILLER
OLIVIER MOSSET
SEAN PAUL
JULIA PHILLIPS
EILEEN QUINLAN
BLAKE RAYNE
CLEMENT RODZIELSKI
CHRISTOPH RUCKHÄBERLE
NORA SCHULTZ
AMY SILLMAN
REENA SPAULINGS
JOANNE TATHAM & TOM O’SULLIVAN
CHEYNEY THOMPSON

SARAH CHARLESWORTH

 

Born East Orange, NJ, 1947

Lived and worked in New York City

Died Falls Village, Connecticut, 2013

 

EDUCATION

 

1969     Barnard College, New York, NY, Bachelor of Arts

 

PUBLIC COLLECTIONS

 

Addison Gallery of American Art, Phillips Academy, Andover

Allen Memorial Art Museum, Oberlin College, Oberlin

Art Gallery of Ontario, Toronto

Art Institute of Chicago, Chicago

Baruch College, New York

Berkeley Art Museum, University of California, Berkeley

Birmingham Museum of Art, Birmingham

Cleveland Museum of Art, Cleveland

Fotomuseum Winterthur, Switzerland

Harvard Business School, Boston

High Museum of Art, Atlanta, GA

International Center of Photography, New York

Israel Museum, Jerusalem

Paul Getty Museum, Los Angeles

Los Angeles County Museum of Art, Los Angeles

Metropolitan Museum of Art, New York

Moderna Museet, Stockholm

Montclair Museum, Montclair

Museum of Contemporary Art, Los Angeles

Museum of Contemporary Art, San Diego

Museum of Fine Arts, Boston

Museum of Modern Art, New York

Museum of New Mexico, Santa Fe

Musée d’Art Moderne and d’Art Contemporaine, Nice

National Museum of Women in the Arts, Washington DC

New Britain Museum of American Art, New Britain

New York Public Library, New York

Orlando Museum of Art, Orlando

Philadelphia Museum of Art, Philadelphia

Princeton University Museum, Princeton

Rose Art Museum, Brandeis University, Waltham

Sheldon Memorial Art Gallery, University of Nebraska, Lincoln

Smith College Art Museum, Northampton

Smithsonian Institute, National Museum of American Art, Washington DC

Solomon R. Guggenheim Museum, New York

Stedelijk Van Abbemuseum, Eindhoven

Tang Museum, Saratoga Springs

Vancouver Art Gallery, Vancouver

Victoria and Albert Museum, London

Walker Art Center, Minneapolis

Whitney Museum of American Art, New York

Yale University Art Gallery, New Haven

 

SOLO EXHIBITIONS

 

2017     Natural Magic, Maccarone, New York

Sarah Charlesworth: Doubleworld, LACMA, Los Angeles

2016    Sarah Charlesworth: Selected by Liz Deschenes, Campoli Presti, Paris

2015     Sarah Charlesworth: Doubleworld, curated by Massimiliano Gioni and Margot Norton, New Museum, New York

2014     Stills, curated by Matthew S. Witkovsky, The Art Institute of Chicago, Chicago

            Objects of Desire: 1983 – 1988, Maccarone Gallery, New York

2013     Available Light, Baldwin Gallery, Aspen

2012     Available Light, Susan Inglett Gallery, New York

2010     Work in Progress, Baldwin Gallery, Aspen

2009     Work in Progress, Susan Inglett Gallery, New York

Selected Works 1978-2009, Galerie Tanit, Munich

2007     Concrete Color, Baldwin Gallery, Aspen

2006     Concrete Color, Margo Leavin Gallery, Los Angeles

2005     A Simple Text, Baldwin Gallery, Aspen

2003     0 + 1, Baldwin Gallery, Aspen

2002     Neverland, Gorney Bravin + Lee, New York

2000     0 + 1, Margo Leavin Gallery, Los Angeles

            0 + 1, Gorney Bravin + Lee, New York

1999    Women in the Arts, Washington DC; Cleveland Center for Contemporary Art

Cleveland

1998     Doubleworld, Fay Gold Gallery, Atlanta

            Camera Obscura, San Casciano dei Bagni

1997    Sarah Charlesworth,- A Retrospective, curated by Louis Grachos and Susan Fisher Sterling, Santa Fe; Museum of Contemporary Art, San Diego; National Museum of

Rose Art Museum, Brandeis University, Waltham

1996     Doubleworld, Margo Leavin Gallery, Los Angeles

1995     Doubleworld, S. L. Simpson Gallery, Toronto

Doubleworld, Jay Gorney Modern Art, New York

1993     Natural Magic, S. L. Simpson Gallery, Toronto

 Natural Magic, Jay Gorney Modern Art, New York

Natural Magic, Galerie Rizzo, Paris

1992     Objects of Desire, Galerie Carola Mosch, Berlin

Renaissance Paintings, Rena Bransten Gallery, San Francisco (with Judith Barry)  

1991     Renaissance Paintings, Paley Wright Gallery, London

            Renaissance Paintings & Drawings, Jay Gorney Modern Art, New York

            Renaissance Paintings, Galerie Xavier Hufkens, Brussels

1990     Academy of Secrets, S. L. Simpson Gallery, Toronto

1989     Academy of Secrets, Jay Gorney Modern Art, New York

Objects of Desire, Interim Art, London

1988     Objects of Desire, Galerie Hufkens Noirhomme, Brussels

1987     Objects of Desire, Tyler Gallery, Tyler School of Art, Temple University, Elkins Park

Objects of Desire IV, Margo Leavin Gallery, Los Angeles

Objects of Desire IV, International with Monument, New York

1986     Objects of Desire III, S.L. Simpson Gallery, Toronto

Objects of Desire III, International with Monument, New York

1985     Objects of Desire III, International with Monument, New York

1984     Objects of Desire I, In-Photography, Tabula Rasa, The Clocktower, New York

Modern History, California Museum of Photography, Riverside

            In-Photography, Light Work, Syracuse

1982     In-Photography, Tony Shafrazi Gallery, New York

Tabula Rasa, Larry Gagosian, New York

In-Photography, CEPA Gallery, Buffalo

1981     Stills, Tony Shafrazi Gallery, New York

The White Lady, Galerie Micheline Sczwajcer, Antwerp

1979     New 57 Gallery, Edinburgh

1978     Zona, Florence

            Pio Monti Gallery, Rome

Galerie Eric Fabre, Paris

Centre d’Art Contemporain, Geneva

C Space, New York

1977     14 Days, MTL Gallery, Brussels

 

GROUP EXHIBITIONS

 

2017     Le Secret, École Nationale Supérieure d’Arts de Paris Cergy, Paris

Dying Well – False Death, Museum für Neue Kunst, Freiburg

            Picture Industry, Hessel Museum of Art, Annandale-on-Hudson

            Another Way of Telling: Women Photographers from the Collection, Philadelphia Museum of Art, Philadelphia

Plages, Campoli Presti, London

Third Space/Shifting Conversations About Contemporary Art, Birmingham Museum of Art, Birmingham

2016     Breaking News: Turning the Lens on Mass Media, J. Paul Getty Museum, Los Angeles

Ordinary Pictures, Walker Art Center, Minneapolis

In Place Of, Miguel Abreu Gallery, New York

Physical: Sex and the Body in the 1980s, Los Angeles County Museum of Art, Los Angeles

The Art of Our Time, Museum of Contemporary Art, Los Angeles

Recto Verso, Fondazione Prada, Milan

2015     Popular Images, Karma, Amagansett

Reconstructions, Recent Photographs and Video from the Met Collection, The Metropolitan Museum of Art, New York

Looking Back / The 9th White Columns Annual, White Columns, New York

America Is Hard To See, curated by Donna De Salvo et al, Whitney Museum of American Art, New York

2014     Whitney Biennial, curated by Stuart Comer, Anthony Elms, Michelle Grabner, Whitney Museum of American Art, New York

No Drink No Talk Just Beautiful, curated by Mary Simpson, On Stellar Rays, New York

(Mis)Understanding Photography, Museum Folkwang, Essen

Someone Like Me, Murray Guy Gallery, New York

Re-Framing History, Gallery Lelong, New York

2013     Ten Years, Wallspace Gallery, New York

2012     Photography From The Collection Of The Art Institute of Chicago, The Art Institute of Chicago

Color Pictures, curated by Frances Colpitt, Fort Worth Contemporary Arts, Fort Worth,

Arctic Summer, Margo Leavin Gallery, New York

Shock of the News, curated by Judith Brodie National Gallery of Art, Washington DC

The Deconstructive Impulse: Women Artists Reconfigure the Signs of Power, 1973-1992, curated by Helaine Posner and Nancy Princenthal, Neuberger Museum of Art, Purchase

            The Nasher Museum of Art, Durham, NC, Contemporary Arts Museum Houston

2011     Signs of a Struggle: Photography in the Wake of Postmodernism, curated by Marta Weiss, Victoria and Albert Museum, London

September 11, curated by Peter Eleey, MoMA PS1, Long Island City

Another Story: Photography from the Moderna Museet Collection, Moderna Museet, Stockholm

CIRCA 1986: The ‘80s from Six Important New York Art Collections, Hudson Valley Center for Contemporary Art, Peekskill

The Uncanny Familiar: Images of Terror, C/O Berlin, Berlin; curated by Felix Hoffmann

Sun Works, Berkeley Art Museum, Berkeley

2010     The Last Newspaper, curated by Richard Flood and Benjamin Godsill  New Museum, New York

Corcoran Gallery of Art, Washington DC; in conjunction with “Helios: Eadweard Muybridge in a Time of Change”, curated by Philip Brookman, Interpretation Gallery Exhibition, curated by Linda Powell

Press Art: The Collection of Annette and Peter Nobel, curated by Christoph Doswald, Kunstmuseum St. Gallen, Museum der Moderne, Salzburg

Ordover Collection, Leslie Tonkonow Gallery, New York

Rhetorik der Bilder (« Rhetoric of Images »), curated by Florian Ebner, Museum für Photographie, Braunschweig

Human, Musée d’Art Moderne et d’Art Contemporain, Nice

Held Up By Columns, Renwick Gallery, New York

Haunted: Contemporary Photography/Video/Performance, curated by Jennifer Blessing & Nat Trotman Solomon R. Guggenheim Museum, New York, Guggenheim Museum, Bilbao (cat.)

Abstract Resistance, curated by Yasmil Raymond, Walker Art Center, Minneapolis

Singular Visions: A Selection of Seldom-Seen Postwar Works From The Whitney’s Collection, curated by Dana Miller and Scott Rothkopf, Whitney Museum of American Art, New York

2009     The Glamour Project, Lehmann Maupin, New York

Small Packages, APF Lab & The American Standard Gallery, New York

Printed Matter, Fotomuseum, Winterthur

On From Here, Guild and Greyshkul, New York

A Twilight Art, Harris Lieberman, New York

Images et (Re)Presentations, curated by Yves Aupetitallot, Le Magasin, Centre National d’Art Contemporain, Grenoble

We’re All Gonna Die, curated by Ron Keyson Sue Scott Gallery, New York

The Armory Show, Susan Inglett Gallery, New York

Better History, The American Standard Gallery, New York

The Pictures Generation, 1974 -1984, curated by Doug Eklund, The Metropolitan Museum of Art, New York

2008     Photography on Photography: Reflections on the Medium Since 1960, The Metropolitan Museum of Art, New York

Jedermann Collection- Set 5 from the Fotomuseum Winterthur Collection, Fotomuseum Winterthur

The Human Face is a Monument,  Guild & Greyshkul, New York

Summer 2008, Margo Leavin Gallery, Los Angeles

Legerdemain, Sue Scott Gallery, New York, The American Standard Gallery, Miami

2007     A New Reality: Black-and-White Photography in Contemporary Art, Zimmerli Art Museum, Rutgers. The State University of New Jersey,New Brunswick

Making and Finding, curated by Katy Siegel, The Foundation To-Life Exhibition Space, Mount Kisco

RoseArt: Works from the Permanent Collection,  Rose Art Museum, Brandeis University, Waltham

2006     The Other Side, Tony Shafrazi Gallery, New York

Recent Acquisitions in Contemporary Photography, The Metropolitan Museum of Art, New York

The Downtown Show: The New York Art Scene, 1974 -1984, curated by Carlo McCormick in consultation with Lynne Gumpert and Marvin J. Taylor, Grey Art Gallery, New York, The Andy Warhol Museum, Pittsburgh

Belief and Doubt, Aspen Art Museum, Aspen

75 Years of Collecting American Photography, Addison Gallery of American Art, Andover

2005     Covering the Real, Kunstmuseum Basel

Contemporary Photography in the Age of Mechanical Reproduction, New Britain Museum of American Art, New Britain

East Village USA, New Museum of Contemporary Art, New York

            The Photograph in Question, Von Lintel Gallery, New York

For Presentation and Display: Some Art of the 80s, curated by Johanna Burton and Hal Foster Princeton University Art Museum, Princeton

2004     The Last Picture Show: Artists Using Photography 1960-1982, curated by Douglas Fogle, Walker Art Center, Minneapolis, UCLA Hammer, Museo de Arte Contemporanea, de Vigo, Spain Fotomuseum Winterthur, Switzerland, Miami Art Central, Miami, Florida

Visions from America, The Wexner Center for the Arts, Columbus

Breathtaking, The Art Institue of Boston At Lesley University, Boston

Speaking with Hands, Photographs from the Buhl Collection, Solomon R. Guggenheim Museum, New York, Guggenheim Museum Bilbao, Bilbao

Unframed edition produced for ACRIA: Aids Community Research Initiative, Charles Cowles Gallery, New York

2003     Off the Press: Recontextualizing the Newspaper in Contemporary Art, Southeast Museum of Photography, Daytona Beach

Constructed Realities: Contemporary Photography, Orlando Museum of Art, Orlando,

Cold Comfort, Memphis College of Art, Memphis

Sarah Charlesworth, Louise Lawler and Laurie Simmons: Designs for Living, Margo Leavin Gallery, Los Angeles 

Raid the Icebox, Margo Leavin Gallery, Los Angeles

2002     Con Art: Magic/Object/Action, curated by Helen & PierGiorgio Varola, The Site Gallery, Sheffield

Feminism and Art: Selections from the Permanent Collection, National Museum of Women in the Arts, Washington DC

Seeing Things: Photographing Objects, 1850-2001, The Victoria and Albert Museum, London

Visions from America: Photographs from the Whitney Museum of American Art, 1940-2001, curated by Sylvia Wolfe, Whitney Museum of American Art, New York

2001     Still Photography: Works from the Tang Collection, curated by Charles Stainback, Tang Museum, Saratoga Springs

Still Photography, Skidmore College, Saragota Springs

Tele[visions], curated by Joshua Decter, Kunsthalle Wien, Vienna

Photo-Synthesis, curated by Douglas Maxwell, Gallery Camino Real, Boca Raton

2000     20/20 Twentieth Century Photography Acquisitions,  Museum of New Mexico, Museum of Fine Arts, Sante Fe

The One Chosen, De Saisset Museum, Santa Clara; Brauer Museum, Valparaiso,

Photography Now, curated by David Rubin Contemporary Arts Center, New Orleans

Rendez-Vous 1, Collection Lambert en Avignon

1999     The American Century: Art & Culture 1950-2000, Whitney Museum of American Art, New York

Double Vision, curated by Michael Pittari, Nexus Contemporary Art Center, Atlanta,

1998     Civic Art In Sienese Villages: Three Contemporary Artists Create Public Works, curated by Cornelia Lauf, Museo Santa Maria Della Scala, Siena

The Tip of the Iceberg: A Response to New York Museums, curated by Bill Bartman Dorfman Projects, New York

From The Heart: The Power of Photography – A Collector’s Choice, curated by Adam D. Weinberg, Art Museum of South Texas, Corpus Christi

199       Eye of the Beholder: Photographs from the Avon Collection, 7 International Center of Photography, New York

Table Tops: Morandi’s Still Lifes to Mapplethorpe’s Flower Studies, California Center for the Arts Museum, Escondido

The One Chosen: Images of Christ in Recent New York Art, Thomas J. Walsh Art Gallery, Quick Center for the Arts at Fairfield University, Fairfield

Identity Crisis: Self Portraiture at the End of the Century, curated by Dean Sobol, Milwaukee Art Museum, Milwaukee

1996     Model Home, organized by Alanna Heiss and Sabina Streeter, The Clocktower Gallery, Institute of Contemporary Art, New York

Sarah Charlesworth, Louise Lawler, Ian Wallace, S. L. Simpson Gallery, Toronto

Sarah Charlesworth, Hannah Collins, General Idea, Laurie Simmons, Carolyn White, S. L. Simpson Gallery, Toronto

Making Pictures: Women and Photography, 1975-Now, curated by Nicole Klagsbrun, Nicole Klagsbrun Gallery, New York, Bernard Toale Gallery, Boston

Just Past: The Contemporary in M.o.C.A.’s Permanent Collection, 1975-96, Museum of Contemporary Art, Los Angeles

Some Grids, organized by Carol S. Eliel and Lynn Zelevansky Los Angeles County Museum of Art, Los Angeles

1994     Desire & Loss, Carl Solway Gallery, Cincinnati

Chasing Angels, Christinerose Gallery, New York

Rudiments d’un Musée Possible 1, Musée d’art moderne et contemporain (MAMCO), Genève

Seasights, curated by Nessia Pope, Offshore Gallery, East Hampton

Transmitting the Truth: Reformulating News Media Information, School of the Art Institute of Chicago, Chicago

American Art Today: Heads Only, curated by Dahlia Morgan, The Art Museum, Florida International University, Miami

Gift, organized by Gideon Ponte, Birgit Spears & Neville Wakefield, The InterArt Center, New York

Don’t Look Now, curated by Josh Decter, Thread Waxing Space, New York

From the Collection: Photography, Sculpture, Painting, Whitney Museum of American Art, New York

1993 –   Empty Dress: Clothing as Surrogate in Recent Art, curated by Nina Felshin for

1996     Independent Curators Intl. Neuberger Museum, Purchase; Virginia Beach Center for the Arts, Virginia Beach; University Gallery, Univ. of North Texas, Denton; Art Gallery, Sir Wilfred Grenfell College, Univ. of Newfoundland, Canada; Mackenzie Art Gallery, Regina, Sas.; The Gallery/Stratford, Stratford, Ontario; California Center for the Arts, Escondido; SelbyGallery Ringling School of the Arts, Sarasota; The Rubelle & Norman Schafler Gallery, Pratt Institute, Brooklyn

1993 –   Commodity Image, International Center of Photography, New York; Institute of

1994     Contemporary Art, Boston; Laguna Art Museum, Laguna Beach

Photoplay: Works from the Chase Manhattan Collection, organized by Lisa Phillips in association with Manuel E. Gonzalez, Center for the Fine Arts, Miami; Museo Amparo, Puebla, Mexico; Centro Cultural Consolidado, Nacional de Bellas Artes, Buenos Aires, Argentina; Museo Nacional de Bellas Artes, Santiago

1993     Up Close: Chemistry Imagined Photogenics: Contemporary Art from the Mallin Collection, The Herbert F. Johnson Museum of Art, Cornell University

The Return of the Cadavre Exquis, The Drawing Center, New York

Vivid: Intense Images by American Photographers, curated by Victoria Espy-Burns  Raab Galerie, Berlin; Galleria Gian Ferrari Arte Contemporanea, Milano,

Image Makers, curated by Franklin Hill Perrell and Constance Schwartz Nassau County Museum of Art, Roslyn Harbor, NY (cat.)

Here’s Looking At Me / A Mes Beaux Yeux: Autoportraits Contemporains, curated by Bernard P. Brunon  L’Espace Lyonnais d’Art Contemporain, Lyon

From New York:Recent Thinking in Contemporary Photography, Donna Beam Fine Art Gallery, University of Nevada, Las Vegas

New Jersey Collects: Photography » curated by Elynn Dennison, Sharon Gill and Perijane

Zarembok, The New Jersey Center for Visual Arts, Summit

The Boundary Rider: 9th Biennale of Sydney, curated by Anthony Bond, Art Gallery of New South Wales, Sydney

1992     Knowledge: Aspects of Conceptual Art, curated by Frances Colpitt and Phyllis Plous University Art Museum, Santa Barbara; The Santa Monica Museum of Art, Santa Monica; The North Carolina Museum of Art, Raleigh

Quotations: The Second History of Art, organized by Barry Rosenberg, The Aldrich Museum of Contemporary Art, Ridgefield

The Photographic Order from Pop to Now, International Center of Photography, New York  

The Disasters of War, Centro Cultural Arte Contemporaneo, Polanco

1991     Images from the Eighties Part 1, American Paintings and Drawings from the Samuel P. Harn Museum of Art’s Skowhegan Collection, Samuel P. Harn Museum of Art, University of Florida, Gainesville

Postmodern Prints, Victoria and Albert Museum, London

A Passion for Art: Watercolors and Works on Paper, Tony Shafrazi Gallery, New York

Beyond the Frame: American Art 1960-1990, curated by Lynn Gumpert Setagaya Art Museum, Tokyo; The National Museum of Art, Osaka; Fukuoka Art Museum, Fukuoka, Japan

In a Dream…(portfolio published by Photographers and Friends Against AIDS), Robert Miller Gallery, New York; Lorence Monk Gallery, New York

American Art of the 80’s, curated by Gabriella Belli and Jerry Saltz, Palazzo delle Albere, Museo d’Arte Moderna e Contemporanea di Trento e Rovereto, Trento, Italy

Southeast Bank Collects: A Corporation Views Contemporary Art, curated by Lisa Liebmann, Norton Gallery of Art, West Palm Beach and Samuel P. Harn Museum of Art at the Univ. of Florida, Gainesville

The Interrupted Life, curated by France Morin, New Museum of Contemporary Art, New York

Motion and Document – Sequence and Time: Eadweard Muybridge and Contemporary American Photography, curated by James Sheldon and Jock Reynolds National Museum of American Art, Smithsonian Institution, Washington DC

Selections from the Permanent Collection: 1975-1991, Museum of Contemporary Art, Los Angeles

Recent Work / Recent Acquisitions, Museum of Contemporary Art, Los Angeles

Das Sibyllinische Auge: Fotokünstlerinnen aus dem Anglo-Amerikanischen Raum, curated by Isabelle Graw and Pia Lanzinger, Foto e.V. München and Barbara Gross Galerie, München

Cruciformed: Images of the Cross Since 1980 Cleveland Center for Contemporary Art, Cleveland

The Conceptual Eye, Barbara Mathes Gallery, New York

1990     The Indomitable Spirit, International Center of Photography , New York; Los Angeles Municipal Art Gallery, Los Angeles

Sarah Charlesworth, Jeanne Dunning, Annette Messager, Adrian Piper, Laurie Simmons, Feigen Gallery, Chicago

Figures et Lectures, Galerie Samia Saouma, Paris

Disconnections, Galleri Nordanstad-Skarstedt, Stockholm

Insect Politics: Body Horror / Social Order, Hallwalls Contemporary Arts Center, Buffalo

Prints and Multiples, Krygier/Landau Contemporary Art, Santa Monica

Figuring the Body, curated by Trevor Fairbrother and Kathy Halbreich, Museum of Fine Arts, Boston

Reorienting: Looking East, curated by Lynne Cooke, Nicola Jacobs Gallery, London; Third Eye Center, Glasgow

Fragments, Parts, Wholes; The Body & Culture, White Columns, New York

The Point of View, XPO Galerie, Hamburg

Taking the Picture: Photography and Appropriation, curated by Manuela Gandini, Leo Castelli Gallery, New York; Gallery, Milan

Shifting Focus: An International Exhibition of Contemporary Women’s Photography, curated by Susan Butler for The Arnolfini Gallery, Bristol and The Serpentine Gallery, London. Cambridge Darkroom, Cambridge; City Museum and Art Gallery, Stroke-on-Trent; Newport Museum and Art Gallery; Harris Museum and Art Gallery, Preston

1989     What Does She Want?: Current Feminist Art from the First Bank Collection, curated by Lynne Sowder and Nathan Braulick, Carleton Art Gallery, Carleton College, Northfield, MN; Women’s Art Registry of Minnesota, Minneapolis

A Forest of Signs: Art in the Crisis of Representation, curated by Mary Jane Jacob and Ann Goldstein, Museum of Contemporary Art, Los Angeles

Kunst zur Zeit, curated by Viktor Misiano and Oliver Wasow Messepalast, Vienna,; Moskau – Wien – New York

Natura-Naturata (An Argument for Still-Life), curated by Cornelia Lauf  Josh Baer Gallery, New York

Culture Medium: A Notion of Truth, curated by Charles Stainback  International Center of Photography, New York

Departures: Photography 1924-1989, Hirschl & Adler Modern, New York

Vis-A-Vis: Aspects of Contemporary Portrait Photography, Grita Insam Gallery, Vienna; Museum voor Hedendaagse Kunst Het Kruithuis, Hertogenbosch

Avant 1989, curated by Haim Steinbach, Frac Rhône-Alpes, Lyon

Abstraction in Contemporary Photography, curated by Jimmy De Sana, Emerson Gallery, Hamilton College, Clinton; Anderson Gallery, Virginia Commonwealth University, Richmond

Sarah Charlesworth and Laurie Simmons: Prints & Photographs,  Editions Ilene Kurtz, New York

Fauxtography, curated by Nora Halpern Brougher, Art Center College of Design, Pasadena

Selections from the Collection of Marc and Olivia Straus, Aldrich Museum of Contemporary Art, Ridgefield

International Camera, Salama-Caro Gallery, London

Subject: Object, Nicola Jacobs Gallery, London

The Photography of Invention: American Pictures of the 1980s, curated by Joshua P. Smith and Merry A. Foresta, National Museum of American Art, Smithsonian Institution, Washington DC; The Museum of Contemporary Art, Chicago and Walker Art Center, Minneapolis

Selected Works from the Frederick R. Weisman Foundation, Wight Art Gallery, University of California, Los Angeles; Joslyn Museum of Art, Omaha; Neuberger Museum, Purchase; Akron Art Museum, Akron

Image World: Art and Media Culture, curated by Marvin Heiferman and Lisa Phillips  Whitney Museum of American Art, New York

The Play of the Unsayable-Wittgenstein and the Art of the XXth Century, curated by Joseph Kosuth, Vienna Secession, Vienna

Don’t Bungle the Jungle! A benefit exhibition for the rainforest, Tony Shafrazi Gallery, New York

            Camera Culture, curated by Brent Sikkema, Thomas Segal Gallery, Boston

Fictive Strategies; Actuality and Originality in Contemporary Photography, curated by Joseph Rauch, The Squibb Gallery, Princeton

Shifting Focus, The Serpentine Gallery, London

Contemporary Perspective I: Abstraction in Question, curated by Bruce Ferguson, Joan Simon and Roberta Smith, The John and Mable Ringling Museum of Art, Sarasota, FL; Center for the Fine Arts, Miami

Sarah Charlesworth, Christine Davis, Judith Schwarz, S. L. Simpson Gallery, Toronto

1988     The Discursive Field of Recent Photography, curated by Tom Folland, Artculture Resource Center, Toronto

The Return of the Hero, curated by Karen Marta, Burden Gallery / Aperture Foundation, New York

Fabrications, curated by Anne Hoy, Carpenter Center for the Visual Arts, Harvard University, Cambridge

Hybrid Neutral: Modes of Abstraction and the Social, curated by Tricia Collins & Richard Milazzo for Independent Curators Intl.  The University of North Texas Art Gallery, Denton; The J. B. Speed Art Museum, Louisville; Alberta College Gallery of Art, Alberta; The Cincinnati Contemporary Art Center, Cincinnati, Richard F. Brush Art Gallery, Santa Fe Community College Art Gallery, Santa Fe

Just like a Woman, Greenville County Museum of Art, Greenville

Photography on the Edge, Haggerty Museum of Art, Marquette University, Milwaukee

Gallery Artists, Jay Gorney Modern Art, New York

Photography in Art Today, Robert Koch Gallery, San Francisco

Art at the End of the Social, curated by Collins & Milazzo, Rooseum, Malmö

Media / Post Media, curated by Collins and Milazzo Scott Hanson Gallery, New York

Sexual Difference: Both Sides of the Camera, curated by Abigail Solomon-Godeau Wallach Art Gallery, Columbia University, New York

Female (Re)production, curated by Marilu Knode, White Columns, New York

Art and Its Double: A New York Perspective, curated by Dan Cameron, Sala de Exposiciones de la Fundacion Caja de Pensiones, Madrid, Spain; Fundacio Caixa de Pensions, Barcelona

1987     Contemporary Photographic Portraiture, curated by Bernard Brunon Musee St. Pierre, Espace Lyonnais d’Art Contemporain, Lyon

Poetic Injury: The Surrealist Legacy in Post Modern Photography, curated by Roger Denson, Alternative Museum, New York

Monsters: The Phenomena of Dispassion, curated by Dennis Kardon and Maria Reidelbach, Barbara Toll Fine Arts, New York

Recent Tendencies in Black and White, curated by Jerry Saltz, Sidney Janis Gallery, New York

This is not a Photograph: Twenty Years of Large Scale Photography; 1966-1986, curated by Joseph Jacobs, The John and Mable Ringling Museum of Art, Sarasota; Akron Art Museum, Akron; Chrysler Museum, Norfolk

Industrial Icons, University Art Gallery, San Diego State University, San Diego;

Contemporary Diptychs: The New Shape of Content, curated by Roni Feinstein, Whitney Museum of American Art at Champion Plaza, Stamford; Whitney Museum of American Art at Equitable Center, New York

1986     Aperto, Venice Biennale, Venice

The Big Picture, curated by Marvin Heiferman, The Queens Museum of Art, New York

Ultrasurd, curated by Collins and Milazzo S.L. Simpson Gallery, Toronto

Post Pop Art, Michael Kohn Gallery, Los Angeles

Paravision, curated by Collins and Milazzo Margo Leavin Gallery, Los Angeles

Lightsong Gallery, University of Arizona, Tucson

As Found, part III of Dissent: The Issue of Modern Art in Boston, Institute of Contemporary Art, Boston

Sarah Charlesworth, Jeff Koons, Laurie Simmons, Editions Ilene Kurtz, New York

Spiritual America, curated by Collins and Milazzo CEPA Gallery, Buffalo

Benefit for The Kitchen, curated by Brooke Alexander and Paula Cooper, Brooke Alexander Gallery, New York

Altered States, curated by Vikky Alexander, 303 Gallery, New York; Photography Bard College, Annandale-on Hudson

1985     Infotainment, curated by Peter Nagy, Rhona Hoffman Gallery, Chicago; Texas Gallery, Houston; Aspen Art Museum, Aspen; Vanguard Gallery, Philadelphia

1985     1985 Biennial Exhibition, Whitney Museum of American Art, New York

Seduction: Working Photographs, curated by Marvin Heiferman, White Columns, New York; Tony Birckhead Gallery, Cincinnati

Cult and Decorum, curated by Collins and Milazzo, Tibor de Nagy Gallery, New York

Playing It Again, Strategies of Appropriation (traveling show), curated by Sam Samore, The Institute for Contemporary Arts, Santa Fe

Photo Object, Postmasters Gallery, New York

Public Art, organized by Nexus Contemporary Art Center, Atlanta Nexus Contemporary Art Center, Atlanta; C. W. Woods Gallery, Hattiesburg; Carolina Program Union, Columbia; Austin Peay State University, Clarksville; Valencia Community College, Orlando; North Carolina Museum of Art, Raleigh; University of the South, Sewanee

The Art of Memory, The Loss of History, curated by Bill Olander New Museum of Contemporary Art, New York

In the Tradition of: Photography, Light Gallery, New York

Figure it Out, Laguna Gloria Art Museum, Austin

Still Life with Transaction, International with Monument, New York

Selected Artists from The East Village, Holly Solomon Gallery, New York

Feature Gallery, Chicago

Cable Gallery, New York

Smart Art Too, curated by Joe Masheck  55 Mercer Street Gallery, New York

Between Here and Nowhere, curated by Rosetta Brooks, Riverside Studios, London; Kettle’s Yard, Cambridge; Midland Group Gallery, Nottingham

The New Capital, curated by Collins and Milazzo, White Columns, New York

1984     The Magazine Store, curated by Jock Reynolds Washington Project for the Arts, Washington DC

Pop, Spiritual America, New York

Sex Specific: Photographic Investigations of Contemporary Sexuality, School of the Art Institute of Chicago Gallery, Chicago

Wedge Benefit, Nature Morte Gallery, New York

Ten Years of Contemporary Art, Museum of Modern Art / Art Advisory Service, New           York

Still Life with Transaction, curated by Collins and Milazzo Galerie Jurka, Amsterdam,; International with Monument, New York

Natural Genres, curated by Collins and Milazzo  Fine Arts Gallery, Florida State University, Tallahassee

Large Scale Photographs, Dart Gallery, Chicago

Sex Show, Cable Gallery, New York

Bomb Magazine Show, Blum Helman Warehouse, New York

1983     Artists Use Photographs, Marianne Deson Gallery, Chicago

Art and Social Change U.S.A., curated by Bill Olander, Allen Memorial Art Museum, Oberlin College, Oberlin

 American Graffiti Gallery, Amsterdam

State of the Art, The New Social Commentary, Barbara Gladstone Gallery, New York

Terminal New York, Brooklyn Army Terminal, New York

Three-Dimensional Photographs, Castelli Graphics, New York

In Plato’s Cave, curated by Abigail Solomon-Godeau, Marlborough Gallery, New York

Eight Women Artists, Olsen Gallery, New York

Palais de Beaux Arts, Brussels

1982     Art and the Media: A Fatal Attraction, curated by Tom Lawson, The Renaissance Society, University of Chicago, Chicago

Resource Material: Appropriation In Current Photography, curated by Stephen Frailey, Proctor Art Center, Bard College, Annandale-On-Hudson

Olsen Gallery, New York

1981     Tony Shafrazi Gallery, New York

New Wave, curated by Diego Cortez, P.S.1, Long Island City, New York

Photo, Metro Pictures, New York

1980     The Times Square Show, organized by Colab, New York

            General Idea, Carmen Lamanna Gallery, Toronto

1979     The Altered Photograph, P. S.1, Long Island City

Artemisia, curated by Yvon Lambert, Galerie Yvon Lambert, Paris; Paula Cooper Gallery, New York

1978     Bibliotheque National, Paris

            Gallery 76, Toronto

1977     Art Net, London

            Carmen Lamanna Gallery, Toronto

1976     Face / Surface, collaborative project with Joseph Kosuth, Galerie Durand-Dessert, Paris; MTL Gallery, Brussels; PMJ Self Gallery, London

 

GRANTS

 

1995     John Simon Guggenheim Fellowship Award, Visual Art

1983     National Endowment for the Arts

1980     National Endowment for the Arts

1977     New York State Creative Artists Public Service

1976     National Endowment for the Arts

 

CURATION

 

1995     Artists Space, New York, NY; « Somatogenics », group show co-curated with Cindy Sherman and Laurie Simmons.

John Simon Guggenheim Fellowship Award, Visual Art

1983     National Endowment for the Arts

1980     National Endowment for the Arts

1977     New York State Creative Artists Public Service

1976     National Endowment for the Arts

 

LECTURES/ VISITING ARTIST/ SEMINARS/ RESIDENCIES

 

2011     Neuberger Museum of Art, Purchase; “Panel Discussion: Feminism, Deconstruction, and Desire” with Sarah Charlesworth, Helaine Posner and Nancy Princenthal

SUNY Purchase, Purchase; Visiting artist/lecturer

Guggenheim Museum Bilbao; Sarah Charlesworth Lecture in Conjunction with “Haunted: Contemporary Photography/Video/Performance”

2010     Bard College, Annandale-on-Hudson, Visiting artist/lecturer, Masters program in Fine Arts

The New Museum, New York; “The Last Newspaper Artists in Conversation” Benjamin Godsill, Moderator, with Sarah Charlesworth, Nate Lowman, and Aleksandra Mir

Solomon R. Guggenheim Museum, New York; Sarah Charlesworth Lecture, “Conversations with Artists”

2009     Art Institute of Boston, Boston, Visting artist/lecturer, Masters program in Fine Arts, June

2008     LACMA, Los Angeles, « Remembering and Forgetting Conceptual Art »

School of Visual Arts, New York, Visiting Artist, Masters program in Fine Arts

2007     The Kitchen, New York, « Re-Take: A Panel on Art and Appropriation » Organized by Afterall.

Parsons, The New School for Design, New York, Visiting Artist, Masters program in Photography

2005     Maine College of Art, Portland, visiting artist and guest lecturer

Princeton University, Panel curated by Johanna Burton in conjunction with « For Presentation and Display: Some Art of the 80s » curated by Johanna Burton and Hal Foster

Bard College, Annandale-on-Hudson, Visiting lecturer, Masters program in curatorial studies

Bard College, Annandale-on-Hudson, Visiting artist / lecturer, Masters program in Fine Arts

2004     Columbia University School of the Arts; Sarah Charlesworth: The Philosophical and Political Role of the Artist, New York

Rhode Island School of Design; TC Colley Visiting Artist and Lecturer

2003     Orlando Museum of Art, Orlando; A Conversation with Sarah Charlesworth

Maine College of Art, Portland; lecturer

2002     Bard College, Annandale-on-Hudson; lecturer

2000     Rhode Island School of Design, Providence, RI; Public lecture & visiting artist / critic

Brandeis University, Waltham; Public lecture / interdisciplinary seminar

New York University, American Photography Institute, Guest Lecturer.

1998-    The Cleveland Center for Contemporary Art, Cleveland; The Photography of Sarah

1999     Charlesworth: A Psychoanalytic Perspective (series of five thematic discussions)

1998     Yale University, New Haven; Masters Program in Photography

Museo Santa Maria della Scala, Siena; Visiting Artist in Residence

1997     Bard College, Annandale-on-Hudson; Lecturer, Visiting Artists and Masters program in theArts

New York University, New York; American Photography Institute, lecturer

1995     New York University, Tisch School of the Arts, New York; artist / lecturer

Rutgers University, New Brunswick; artist / lecturer

Independent Curators Incorporated, New York; artist / lecturer

1994     Tel Aviv Museum of Art, Tel Aviv; artist / lecturer

Camera Obscura School of Art, Tel Aviv; artist / lecturer – symposium Art andTechnology: 2009

1993     University of Las Vegas, Las Vegas; guest lecturer

Culture Lab, University of Toronto, Toronto; guest lecturer

Museo de Arte Contemporaneo de Monterrey, Monterrey; guest lecturer, panelist: Photoplay

1990     New York University, New York; panel/symposium with Jean Baudrillard

La Jolla Museum of Contemporary Art, La Jolla; guest lecturer

University of California, San Diego; visiting artist / lecturer

Art Center College of Design, Pasadena; visiting artist

School of Visual Arts, New York; panel Uses & Abuses of History, Peter Halley, moderator

California State University, Fullerton; guest lecturer

New York University / International Center of Photography, New York; graduateprogram visiting artist / critic

1989     Carleton College, Northfield; symposium, What does she want?

The Whitney Museum of American Art, panel discussion, Image World: Art and Media Culture

S.U.N.Y. Purchase, Purchase; guest lecturer, The Politics of Representation

National Gallery of American Art, Washington; panel discussion in conjunction with the exhibition Photography of Invention

1988     Nova Scotia College Art and Design, Halifax, Nova Scotia; visiting artist / lecturer,

1987     Tyler Gallery, Tyler School of Art, Temple University, Elkins Park; guest lecturer, International Center of Photography, New York; guest lecturer

 

BIBLIOGRAPHY

 

Selected Periodicals

 

2016     Davis, Ben. Artnet, Do You Have to Be Rich to Make It as an Artist?

2015     Felsenthal, Julia Vogue, Decoding Sarah Charlesworth’s Patricia Cawlings, Los Angeles at New York’s New Museum

Art in America, Museum Previews – Sarah Charlesworth

Musée Magazine, Sarah Charlesworth: Doubleworld at New Museum

PDN, The Double World of Sarah Charlesworth

Aletti, Vince.  The New Yorker, Optic Nerve, The New Museum Surveys the Enigmatic Pictures of Sarah Charlesworth

Budick, Ariella    Financial Times, Sarah Charlesworth/Albert Oehlen, New Museum, New York

Caranicas, Devon.  Sleek, Sarah Charlesworth’s Retrospective Gives You Double Vision

Cruz, Cynthia.  Hyperallergic, With Photography, Sarah Charlesworth Deconstructs the World

Denson, G. Roger.  Huffington Post, Where Doubt Is Faith and the Sign Is Spirit: Sarah Charlesworth’s Art of Personal Religion

Dorenbaum, Frances.  F Newsmagazine, The Last Dance: Sarah Charlesworth’s Stills

Gopnik, Blake.  artnet Magazine, At the New Museum, Sarah Charlesworth’s Jumpers Leap for Us All

Halle, Howard.  Time Out New York, Best Art Shows of 2015

Krasinski, Jennifer.  Village Voice, Doubledowner: New Museum Retrospective Gives Too Brief a Look at Sarah Charlesworth’s Work

Yerebakan, Osman. Can Art Observed, New York – Sarah Charlesworth: “Doubleworld” at The New Museum

Wyma, Chloe.  Modern Painters, The Double World of Sarah Charlesworth

Woodward, Richard B.  The Wall Street Journal, ‘Sarah Charlesworth: Doubleworld’ Review: Should We Look Away?

Solomon, Deborah.  The New York Times, Recalling Sarah Charlesworth’s Photographs

Smith, Roberta.  The New York Times, ‘Sarah Charlesworth: Doubleworld’ Studies Perceptions Shaped by Photography

Schwendener, Martha.  The New York Times, Review: Metropolitan Museum Looks at Photos That May Last

O’Neill, David.  Bookforum, Sarah Charlesworth: Doubleworld

Murg, Stephanie.  Wallpaper, The artist and linguist: Sarah Charlesworth’s ‘Doubleworld’ on show at the New Museum

Mohammad, Sehba.  Flavorpill, 5 Reasons to See Sarah Charlesworth at the New Museum

Krug, Simone.  The Brooklyn Rail, Sarah Charlesworth – Doubleworld

Jovanovich, Alex.  Artforum, Critics’ Picks

2014     Schjeldahl, Peter. The New Yorker, Get with It

The New Yorker, Sarah Charlesworth,

Coleman, Sarah Artnews, ‘Sarah Charlesworth: Objects of Desire, 1983–1988′ at Maccarone Cristello, Stephanie.  Pier Review, Sarah Charlesworth: Stills at the Art Institute of Chicago, Chicago, IL

Fiske, Courtney. Art in America, Sarah Charlesworth at Maccarone

Guarino, Mark.  The Guardian, Considering the humanity of falling bodies in Sarah Charlesworth’s Stills

Heinrich, Will.  New York Observer, ‘Sarah Charlesworth: Objects of Desire: 1983-1988’ at Maccarone

Laster, Paul.  Timeout New York, Sarah Charlesworth, « Objects of Desire: 1983-1988 »

MacDonnell, Nancy.  W Magazine, Ahead of her Time

Russeth, Andrew.  Artnews, ‘Challenged to Encompass Everything’

Vogel, Carol.  The New York Times, Hurtling Bodies, Frozen in Time: ‘Stills’ by Sarah Charlesworth, p. AR4

Hutt, John.  Musée Magazine, Sarah Charlesworth “Objects of Desire 1983-1988″ at Maccarone

2013     Putrino, Matt.  Nothing Major, R.I.P. Sarah Charlesworth

Artlyst, Sarah Charlesworth American Conceptual Artist And Photographer Dies

Boucher, Brian.  Art in America, Sarah Charlesworth 1947-2013

Gallun, Lucy.  Inside/Out, A MoMA / MoMA PS1 Blog. Unwriting: Sarah Charlesworth (blog)

Goldstein, Andrew M.

Corbett, Rachel.  Artspace, Remembering Sarah Charlesworth, Groundbreaking « Pictures Generation » Photographer

Handzo, Ben.  Bomb Magazine, Sarah Charlesworth, 1947 – 2013

Kazakina, Katya Bloomberg, Sarah Charlesworth Leaves Magic Images, Beloved Garden

Lee, Soo Ji.  PDN, Obituary: Fine-Art Photographer Sarah Charlesworth, 66, June 27, 103

Russeth, Andrew.  New York Observer, Sarah Charlesworth, Incisive Conceptual Photographer, Dies at 66

Simmons, Laurie.  Artforum, Sarah Charlesworth (1947–2013)

Smith, Roberta.  The New York Times, Sarah Charlesworth, Artist of Deconstructed Photographs, Dies at 66

Traub, Charles. Lange, Matthew C.  The Brooklyn Rail, Remembering Sarah Charlesworth (1947-2013)

Woodward, Richard B.  The Wall Street Journal, Pictures, Without Their Thousand Words

2012     The New Yorker. Goings on About Town: Art, p. 10.

Columbia: A Journal. No. 50, pp. 83-84.

Flash Art. Sarah Charlesworth & Sara VanDerBeek: A Space in Between. pp. 80-83. (interview)

Life + Times. Lights Please: Sarah Charlesworth

Modern Painters. Reviews in Brief: Sarah Charlesworth

Frolov, Oleg.  Populist Magazine, Interview with Sarah Charlesworth, p. 4-16.

Smith, Roberta.  The New York Times, Sarah Charlesworth: Available Light, p. C26.

2011     Moyer, Carrie.  Art in America. “The Deconstructive Impulse” (review), p. 163

Hodara, Susan.  The New York Times. “Taking on the Role of Gender in Media”

Cembalest, Robin.  ARTnews. A Terrible Beauty?

2009     Barnes, Steve.  ARTnews. “Sarah Charlesworth: Review (review), Summer pp 128

Hafner, Hans-Jurgen.  artnet Magazine. “Sarah Charlesworth bei Galerie    Tanit, Munich: The Colour of Conceptual Criticism” (review)

Tikhonova, Julia.  FLASH ART. « Sarah Charlesworth at Susan Inglett » (review), Vol XLII, pp 98

2008     Smith, Roberta.  The New York Times, « The Human Face is a Monument » April 25, 2008

ARTnews, « Concrete Color » (review)

2007     Fitzpatrick, Andrea D.  Art Journal, « The Movement of Vulnerability: Images of Falling and September 11 » Winter 2007. col 66. no 4. pp. 85-102

North Drive Press, « Sarah Charlesworth and Sara Vanderbeek: An Interview » #4, Fall

2006     BOMB Magazine (cover), Summer, Number 96

2005     O’Brien, Glenn.  GQ, « How to Collect Photography”, pp 302

2004     Spicer, Jakki.  artUS, « The Last Picture Show, » January and February; pp. 36-37

Deitcher, David  Artforum, « Spiritual America: David Deitcher on pre-teen spirit, » Oct,

2003     (Eds.) O’Brien, Glenn and Max Blagg.  Bald Ego; Fall 2003, Vol. 1 and Vol. 2 (ill. cover and reproductions)

Hainley, Bruce.  Artforum, « Designs for Living, » December; p. 151

Hamilton, Jeanne.  The Commercial Appeal, ‘Cold Comfort’ clutches a warm and fuzzy void, 21 January;p. C4

Hamilton, Jeanne.  Artforum, One Year Under the Mast, Alexander Alberro on The Fox, Summer 2003 ; pp. 162 – 164, p. 206

2002     Unsigned.  The New Yorker, Photography: Sarah Charlesworth, 16 Dec.; p.20

Johnson, Ken.  The New York Times, Art Guide: Sarah Charlesworth, 13 Dec.; p.E45

2001     Marschall, Laurence A..  The Sciences, Book in Brief: The Story of P (illustr.), Jan.-Feb.; p.44

2000     Aletti, Vince.  The Village Voice, Voice Choice: Photo: Sarah Charlesworth, 25 Jan.; p.79

Cohen, Michael.  Flash Art, Review: Sarah Charlesworth at Gorney Bravin + Lee, May – June; p. 116

Cotter, Holland.  The New York Times, Surging Into Chelsea, 21 Jan.; pp. E37, E41

Pagel, David.  Los Angeles Times, Sarah Charlesworth – Magical Forms, 28 January

Saltz, Jerry.  The Village Voice, The I-Don’t-Get-It-Aesthetic, 25 January; p.57

Schwendener, Martha.  Time Out New York, Art reviews: Sarah Charlesworth at Gorney Bravin + Lee, 27 Jan-3 Feb., p. 58

1999     Unsigned.  The Chronicle of Higher Education, A Poetry of Metaphor and Magic, 7 May.

Temin, Christine .  The Boston Globe, Photo Synthesis: in a 20 year retrospective at the Rose Art Museum, Sarah Charlesworth transforms the medium and themessage of photography, 7 May.

1998     Bolger, Michael.  La Jolla Village News, Charlesworth tests sense, sensibilities in « Retrospective » 28 May

Buckley, Patricia Morris.  North County Times, Artist Explores philosophies in retrospective photo exhibit, 20 March (review: LaJolla)

Charlesworth, Sarah.  Camera Austria International (Graz), Sarah Charlesworth – A Retrospective, Vol.64, illus. (review)

Domandi, Marie-Charlotte.  Aperture, Sarah Charlesworth: retrospective at SITE Santa Fe, June,p.76-7, illus. (review: Site)

Forrest, Jason A .  The Atlanta Journal Constitution, Look twice, then again, at these complex photos, Fri., 27 Nov., p.Q8, illus. (review: Fay Gold)

Goldberg, Vicki.  The New York Times, Messages in the media: varied perceptions offactuality, 31 July, p.B33 (review: Nat’l. Museum…)

Green, Frank.  Cleveland Free Press, Master Juggler: The Restless Experiments of Sarah Charlesworth, 16-22 Dec.

Knight, Christopher.  The Los Angeles Times, An Artist Taking Pictures (Literally), 22 April,p.F-1,4, illus. (review: LaJolla)

Lewis, Joann.  The Washington Post, Slight of Lens » Sarah Charlesworth, deconstruc-ting ‘Truth’ frame-by-frame, 10 August (review: Nat’l. Museum…)

Linker, Kate.  Art in America, Sarah Charlesworth: Artifacts of Artifice, July, p.74-79, 106 + cover (feature)

Litt, Steven.  The Plain Dealer (Cleveland), Photography as a form of Contemplation:Charlesworth’s Artistic Images a Rich and Compelling Presence, Sun.,22 Nov., p.4-I (review: CCA)

Morgan, Anne.  Art Papers, Peering through History: an interview with Sarah Charlesworth, May-June, p.17-21, illus. (feature)

O’Sullivan, Michael.  The Washington Post, Charlesworth’s truth in pictures, 17 July (review: Nat’l. Museum…)

Pincus, Robert.  San Diego Union Tribune, Pool of images, pearles of truth, 5 April(review: LaJolla)

Shaw-Eagle, Joanna.  Sunday Times, Exhibition of Shifting Realities, 12 July

Smith, Roberta.  The New York Times, Art Review: Evocative Cells: Uptown, Downtown,All Around, 27 Nov.

Swarski, Lindsey.  UCSD Guardian, Cutting-edge photography is candy for the mind, 2 April (review: LaJolla)

Unsigned. Antiques and the Arts Weekly, First Retrospective of Sarah Charlesworth’s Photo-Objects, 28 Aug. (review: Nat’l. Museum…)

Unsigned.  Flash Art, Sarah Charlesworth Retrospective, Jan.-Feb, p.46, illus. (newssection)

Unsigned.  Vision Magazine, Recycling Culture: an interview with SarahCharlesworth, 28 May

Baldridge, Charlene.  La Jolla Village News, Artists offer resonant juxtapositions, 23 April

1997     Walker, Hollis.  Pasatempo, The New Mexican, A Landscape of Images, 31 Oct.-6 Nov.,pp.32-33 (review: Site)

MacNeil, William.  Albuquerque Journal, Celebrated Photographer Blurs Line between Fact,Fiction, 4 Nov., pp.1&3 (review: Site)

Clemmer, David.   Santa Fe Reporter, Context, Content and the Vessel of the Miraculous, 12-18 Nov., p.27 (review: Site)

1996     Unsigned.  The Sciences, Sept/ Oct, pg. 28, illus.

Unsigned.  New Observations, Sarah Charlesworth: Text, Jan/ Feb, pg. 22, illus.

Unsigned.  At The Museum (Los Angeles County Museum of Art), Some Grids, p.9

Johnson, Paul.  Cover, Sarah Charlesworth, March , p.53, illus. (review: J.G.M.A.)

Goldstein, Laurence.  Michigan Quarterly Review, Introduction, Vol. XXXV, No.4, Fall, p.574, illus.

1995     Yablonsky, Linda.  Time Out / New York, Sarah Charlesworth: Doubleworld, 15-22 Nov.,p.25, illus. (review: J.G.M.A.)

Unsigned.  Canadian Art, Fast Forward, Fall, illus. (preview: S. L. Simpson)

Hagen, Charles.  The New York Times, Sarah Charlesworth,17 Nov., p. C-30, (review: J.G.M.A.)

Aletti, Vince.  The Village Voice, Choices: Sarah Charlesworth, 7 Nov.; supplementp. 8, illus. (review: J.G.M.A.)

1994     Unsigned.  The New Theater Review, fall, #11,pg. 8, illus. + cover

Hickey, Dave.  Parkett, A Matter of Time: On Flatness, Magic, Illusion, and Mortality,#40/41, Summer, (feature)

1993     Romano, Gianni.  Zoom (Milan), Sarah Charlesworth, Nov.-Dec., illus. (feature)

Mifflin, Margot.  Artnews, What do Artists Dream?, Oct. (editorial)

Hess, Elizabeth.  The Village Voice, Materialized Girls: Nancy Rubins, Lisa Hoke, MeganWilliams, Sarah Charlesworth, 20 April (review: J.G.M.A.)

Hess, Elizabeth.  The Village Voice, Body Triple, 30 Nov., illus. (review: Drawing Center)

Heartney, Eleanor.  Artnews, Sarah Charlesworth, Summer, illus. (review: J.G.M.A.)

1992     Campitelli, Maria.  Juliet (Trieste), Sarah Charlesworth, Feb-March (review: J.G.M.A.)

1991     Thompson, Elspeth.  The Guardian (London), Portrait of a Friendship, 4 Dec, illus. (review:Interim Art)

Brenson, Michael.  The New York Times, Sarah Charlesworth: Shifted Images of theRenaissance, 22 March, illus. (review: JGMA)

Dennis, Melvin.  Puchong Folios, Sarah Charlesworth, Spring (review: J.G.M.A.)

Denson, G. Roger.  Bijutsu Techo, (Tokyo) Traces of Feminity: Sarah Charlesworth, JanGroover & Ida Applebroog, reprint / translation of What’s in a Word, pgs.28-43, illus. + cover (feature)

Gardner, Paul.  Artnews, What Artists Like About the Art They Like When They Didn’t Know Why, Oct., illus. (questionnaire interview)

Lewis, James.  Artforum, Sarah Charlesworth, Summer, (review: J.G.M.A.)

Litt, Steven.  The Plain Dealer, (Cleveland) Using or Abusing a Powerful Symbol?, 8 Sept.

O’Rourke, Meg.  Arts Magazine, Sarah Charlesworth, Summer, illus. (review: J.G.M.A.)

Stiwer, Pierre & Di Felice, Paul.   Cafe-Creme, (Luxembourg), Sarah Charlesworth: L’immaculée conception, #15-Summer, pgs. 38-43, illus. + cover (interview)

Unsigned.  Art and Man, Sept/ Oct, pg. 16, (feature)

Van der Ploeg, Kees.  Flash Art, Sarah Charlesworth, Summer, illus. (review: J.G.M.A.)

Weily, Susan.  Artnews, Sarah Charlesworth’s Abracadabra, March, pgs. 116-121, illus. + cover (feature)

Meuris, Jacques.  La Libre Belgique, (Brussels) Au temps de l’image: l’artiste américaine Sarah Charlesworth entend révéler … froid les passions contemporaines…travers une imagerie omni-présente, 15 May, illus. (review:Hufkens)

1990     Denson, G. Roger.  Tema Celeste, The New Metaphysical Art and It’s Legacy, July-Oct., No. 25, p.37-42, illus. (editorial)

Charlesworth, Sarah.  Artforum, A Grammar of Essence: A Project for Artforum by Sarah Charlesworth, Feb., pp.123-125, illus. (project)

Denson, G. Roger.  Contemporanea, Sarah Charlesworth: What’s in a Word, Oct., pgs.70-75, illus. (feature)

Durand, Regis.  Art Press (Paris), Fragments d’un Paysage d’images, #153, Dec.(feature)

Unsigned.  Interview Magazine, full page reproduction, Feb.

Unsigned.  The New Yorker, Goings On About Town: Art, July 23, (review: J.G.M.A.)

1989     Jones, Bill.  Arts Magazine, Born Again: Seeing the End of Photography, Oct.,pgs. 72- 77, illus. + cover (editorial)

Caley, Shaun.  Flash Art, A Forest of Signs: One is Ushered into a Wonderland of Banality, Nov/Dec, (review: M.o.C.A.)

Faber, Monika.  Camera Austria, (Graz) Vis a Vis der Kamera, #30, (review: Grita Insam)

Grundberg, Andy.  The New York Times, Two Shows: One Works the Other Bogs Down,Sunday, Aug 13, illus., (review: I.C.P. & Metropolitan)

Heartney, Eleanor.  Artnews, Sarah Charlesworth, Sept., illus. (review: J.G.M.A.)

Kent, Sarah.  Time Out / London, Sarah Charlesworth, May 10-17, illus. (review: Interim Art)

Kimmelman, Michael.  The New York Times, At the Whitney, 100 Works From the Last 30Years, Nov 10, (editorial)

Levin, Kim.  The Village Voice, April 25, (review:J.G.M.A.)

Mueller, Cookie.  Details Magazine, Art and About, Sept., illus. (review: B.A.M.)

Princenthal, Nancy.  Barron’s, More Positives Than Negatives: Collectors Bids Up ArtisticPhotographs, May 22, illus. (editorial)

Scheuer, Daniel.  Center Quarterly: A Journal of Photography and Related Arts, 150th at f2Snapshots of Contemporary Art Photography, Vol. 11, #1

Silko, Leslie M.  Artforum, The Fourth World, Summer, pgs.124-127, illus.: Madonna and Child, special project by Sarah Charlesworth (in special section designedby Robert Barry, pgs.124-135)

Smith, Roberta.  The New York Times, Charting Traditions of Non-traditional Photography, June 11, (review: National Museum)

Phillipi, Desa.  Artforum, Shifting Focus, Nov., p.168 (review: Serpentine Gallery)

Sussler, Betsy.  Bomb Magazine, Profile / Art: Sarah Charlesworth, Winter, pgs.30-33, illus. (feature)

Unsigned.  Corriere della Serra (Roma/Milano), Sarah Charlesworth, Aug 18

Wise, Kelly.  The Boston Globe, Redefining the Language of Photography, Oct.17 (review: Segal)

Zampaglione, Arturo.  La Repubblica, Il Venerdi (Rome), p.92, Sept 8, (interview)

1988     Glanzman, Judith.  Journal of Contemporary Art, Sarah Charlesworth, Spring, pg. 56 (interview)

Kramer, Hilton.  New York Observer, Sexual Difference: April 18, p.1&11 (review: Wallach Art Gallery)

Multiple authors.  The Print Collector’s Newsletter, Photographs and Professionals IV, Vol XIX, No.3, July/Aug, pgs.81-91+cover illus. (panel discussion)

Saltz, Jerry.  Arts Magazine, The Implacable Distance: Sarah Charlesworth’s « Unidentified Woman, Hotel Corona, Madrid (1979-1985) », March, pgs.24-25, illus. (feature)

Smith, Roberta.  The New York Times, Galleries Paint a Brighter Picture for Women, April 14 (editorial w/review: J.G. M.A.)

Unsigned.  Flash Art News, Supplement # 143, Nov/Dec

Sischy, Ingrid.  The New Yorker, Photography: Sarah Charlesworth, April 24, (review: J.G.M.A.)

1987     Selwyn, Marc.  L.A. Weekly, Sarah Charlesworth, May 8- 14, pg.44 (review: Leavin)

Cameron, Dan.  Flash Art, Art and Its Double, Summer

Clarkson, David.  Parachute, (Montreal) Sarah Charlesworth: An Interview, Dec, pgs.12-15 (interview)

Cohen, Ronny H.  The Print Collectors Newsletter, New Abstraction V, Mar/Apr., p.9-13, illus.

Collins, Tricia & Milazzo, Richard.  New Observations, Oct

Gilbert-Rolfe, Jeremy.  Arts Magazine, Where Do Pictures Come From? Sarah Charlesworth and the Development of the Sign, Dec., pgs.58-60, illus. (feature)

Shottenkirk, Dena.  C Magazine, (Toronto) Sarah Charlesworth: Imaging the Other, Spring,pgs. 18- 23 + cover (feature)

Stretch, Bonnie Barrett.  Art and Auction, Contemporary Photography, May, pgs.140-147, illus.

Turner, Dot.  Vanguard (Toronto), Sarah Charlesworth, Feb./Mar., illus. (review:S.L. Simpson)

Unsigned.  Bomb, (Toronto), Issue CCI, Fall, cover

Wilson, William.  Los Angeles Times, The Art Galleries: Joel Otterson / Sarah Charles-worth, May 1, (review: Margo Leavin)

1986     Jones, Alan.  Galleries Magazine (Paris), Paravision: Une Interview avec TriciaCollins et Richard Milazzo, Aug./Sept., (interview)

Brody, Jacky.  The Print Collectors Newsletter, (review: print portfolio by Sarah Charlesworth)

Brenson, Michael.  The New York Times, Sunday July 13, (review: Venice Biennale)

Cameron, Dan.  Flash Art, Post-Feminism, Feb/Mar, pgs.80-83, illus. (editorial)

Collins, Tricia.  Kunstforum (Köln), Sarah Charlesworth: Natural Signs From Milazzo,Richard Structural Reformation to Iconic Abstraction, April/May, p.314-315

Indiana, Gary.  Village Voice, Liquid Memory, Solid Objects, April 1, illus. (review: Int’l with Monument)

Unsigned.  Effects Magazine, Winter 1986 (cover)

Collins, Tricia and Milazzo, Richard.  Kunstforum (Köln), New York: Tropical Codes, April/May, p.308

1985     Warren, Ron.  Arts, Sarah Charlesworth, May, (review: Int’l with Monument)

unsigned.  Aperture, Sarah Charlesworth, No. 100, Fall

Linker, Kate.  Artforum, Sarah Charlesworth, Summer, pg.105, illus. (review: Int’l with Monument)

Kohn, Michael.  Flash Art, Sarah Charlesworth, April/May, illus. (review: Int’l with Monument)

1984     Hathaway, Jan.  New York Beat, Photography: Sarah Charlesworth, 2 May, p.15, illus. (review: Clocktower)

Bob, Paul.  The East Village Eye, Cutting Up Culture: Photo Artist Sarah Charlesworth is Pointing to…, June, pgs. 15 & 17, illus. (feature)

Deitcher, David.  After-Image, Questioning Authority: Sarah Charlesworth’s Photographs,Summer, pgs. 14-17, illus. (feature)

Indiana, Gary.  Art in America, Sarah Charlesworth, Sept., illus. (review: Clocktower)

Linker, Kate.  Artforum, Eluding Definition

Smith, Roberta.  The Village Voice, Chrysler’s Wings of Fashion, April (review:Clocktower / Feldman / Castelli)

Unsigned.  Contact Sheet #41, published by Light Work, Syracuse, NY

Unsigned.  Esquire, Openings: Sarah Charlesworth, Feb., p.100 (preview: Clocktower)

1983     Unsigned.  Afterimage, May

Samore, Sam.  Exposure (pub. by the Society for Photographic Education), Playing it Again, Winter

Grundberg, Andy.  The New York Times, Post-Modernists in the Mainstream, Nov. 20

1982     Unsigned.  Artistes, Fall (review)

Unsigned.  Art in America Guide to Museums, Galleries, and Artists, Tabula Rasa, by Sarah Charlesworth, listed as an Outstanding Solo Show of1982)

Scully, Julia.  Modern Photography, Seeing Pictures, June

Owens, Craig.  Art in America, Sarah Charlesworth, May, (review: Gagosian)

Hagen, Charles.  Artforum, Sarah Charlesworth, Dec., p.80, illus. (review: Gagosian)

1981     Sussler, Betty.  Cover Magazine, Interview with Sarah Charlesworth, Spring / Summer (feature)

Castle, Ted.  Flash Art, Verbal Art, Nov.

1980     Frank, Elizabeth.  Art in America, Sarah Charlesworth, April, illus. (review: Shafrazi)

 

BOOKS & CATALOGUES ABOUT THE ARTIST

 

2015     Gioni, Massimiliano. Norton, Margot.  Sarah Charlesworth: Doubleworld, exhibition catalogue published by New Museum, New York, NY   

2014     Witkovsky, Matthew S.   Sarah Charlesworth: Stills, exhibition catalogue published by the Art Institute of Chicago, Chicago, IL

1997     Fisher-Sterling, Susan. Hickey, Dave. Phillips, Lisa.  Sarah Charlesworth, exhibition catalogue published by Site, Santa Fe, NM and National Museum of Women in the Arts, Washington, DC

1992     Grachos, Louis.  Contemporary Currents: Sarah Charlesworth, Special Project: Herald Tribune: Nov., 1977 / Herald Tribune: Jan. 18 – Feb. 28, 1991, exhibition brochure published by The Queens Museum of Art, Queens, NY (no ISBN)

1984     Unsigned.  Sarah Charlesworth: April 21 1978, special issue of C. M. P. Bulletin published as exhibition brochure by California Museum of Photography, University of California, Riverside, CA, Vol.3 No.5 (ISSN: 0731-2377)

1983     Charlesworth, Sarah.  A Lover’s Tale, special issue of Wedge Magazine, Summer/Fall (a visual text pamphlet by Sarah Charlesworth)

1982     Charlesworth, Sarah. Simmons, Laurie.  Sarah Charlesworth: In – Photography, exhibition catalogue published by CEPA Gallery, Buffalo, NY (ISBN: 0-939784-03-3) (includes artist statement: In-Photography)

1979     Charlesworth, Sarah.  Sarah Charlesworth: Modern History (Second Reading), exhibition catalogue published by The New 57 Gallery, Edinburgh, Scotland (no ISBN, edition: 500) (includes artist statement: Unwriting: Notes on Modern History)

1977     Unsigned.  Sarah Charlesworth: 14 Days, exhibition catalogue published by MTL Galerie, Brussels, Belgium

 

GROUP EXHIBITION CATALOGUES AND BOOKS

 

2016     Hickey, Dave.  25 Women: Essays on Their Art, Published by The University of Chicago Press

2014     Migayrou, Frédéric.  Bernard Tschumi – Architecture: concept & notation, Special Project: Stills, Published by Centre Pompidou, Paris, France

Le Bal / Éditions Textuel / Centre National des Arts Plastiques, La Persistance des Images

Ebner, Florian.  Greiff, Sophia et al.  (Mis)Understanding Photography, Sarah Charlesworth, Special Project: Herald Tribune: September 1977, Edited by Museum Folkwang, Essen, Germany

2012     Colpitt, Frances.  Color Pictures. (The Art Galleries of TCU, Fort Worth, TX)

Brodie, Judith.  Shock of the News. (National Gallery of Art, Washington, DC)

2011     Ware, Katherine.  Earth Now: American Photographers and the Environment. (Museum of New Mexico Press, Sante Fe, NM)

Princenthal, Nancy. McDonough, Tom. Pollock, Griselda. Posner, Helaine.  The Deconstructive Impulse: Women Artists Reconfigure the Signs of Power, 1973-1991. (Prestel USA, New York, NY)

Honold, Astrid.  Circa 1986. (Black Cat Publishing, Amsterdam)

Hoffman, Felix.  The Uncanny Familiar – Images of Terror. (Buchhandlung Walther Konig, Koln)

Eleey, Peter. Hoffman, Felix.  September 11. (MoMA PS1, Long Island City, NY)

2010     Klein, Alex.  Words Without Pictures, Discussion Series curated by Charlotte Cotton and Alex Klein (LA County Museum, Los Angeles, CA; 2nd ed. Aperture Foundation, New York, NY, 2010)

Captured in Time: ART in Embassies Exhibition Paris, France. (ART in Embassies, Washington, DC)

Blessing, Jennifer. Trotman, Nat.  Haunted: Contemporary photography, video, performance. (Guggenheim Museum, New York)

Doswald, Christoph.  Press Art: Sammlung Annette und Peter Nobel. (Stampfli Publikationen AG, Bern)

Modrak, Rebekah. Anthes, Bill.  Reframing Photography: Theory & Practice. (Routledge, London)

2009     Eklund, Douglas .  The Pictures Generation, 1974 – 1984. (The Metropolitan Museum of Art, NY)

Aupetitallot, Yves.  Images & (re)presentations: Les Annee 1980s, (Centre d’Art Contemporain, Grenoble, France)

2008     Congdon, Kristin. Hallmark, Kara Kelley.  Twentieth Century United States Photographers: A Students Guide, (Greenwood Press, Westport, CT)

Jedermann Collection- Set 5 from the Fotomuseum Winterthur Collection, (Fotomuseum Winterthur, Switzerland)

2007     A New Reality: Black-and-White Photography in Contemporary Art. Jane Voorhees Zimmerli Art Museum, Rutgers. The State University of New Jersey, New Brunswick, NJ

2006     Traub, Charles. Heller, Stephen. Bell, Adam B.  The Education of a Photographer, « Objects of Desire: An interview with Sarah Charlesworth » (Allworth Press and School of Visual Arts, NY)

2005     Foster, Hal. Krauss, Rosalind. Bois, Yve-Alain. Buchloh, Benjamin.  Art Since 1900: Modernism, Antimodernism, Postmodernism (Thames & Hudson, New York, NY)

2004     Witkovsky, Matthew S. Mariño, Melanie. Trotman, Nat.  Speaking with Hands: Photographs from the Buhl Collection, (Solomon R. Guggenheim Museum, New York, NY)

Fogle, Douglas. The Last Picture Show: Artists Using Photography 1960-1982; (Walker Art Center, Minneapolis, MN)

2003     Off the Press: Recontextualizing the Newspaper in Contemporary Art,(Southwest Museum of Photography, Daytona, FL)

Scott, Sue. Constructed Realities: Contemporary Photography, (Orlando Museum,Orlando, FL)

2002     Wolfe, Sylvia. Visions from America: Photographs from the Whitney Museum of American Art, 1940-2001, (Whitney Museum of American Art, New York, NY)

Warner, Mariana. Haworth-Booth, Mark.  Seeing Things: Photographing Objects, 1850-2001, (The Victoria and Albert Museum, London, UK)

Decter, Josh. Televisions, (Kunsthalle, Vienna, Austria)

2000     (various) Post Modernism, (Tate Gallery, London, UK)

1999     Phillips, Lisa. The American Century: Art & Culture 1950-2000, (Whitney Museum of American Art & Norton Publishers, New York, NY)

1998     Bunnell, Peter C.. Photography at Princeton, (Princeton University, Princeton, NJ)

1997     Sobel, Dean. Identity Crisis: Self Portraiture at the End of the Century, (Milwaukee Art Museum, Milwaukee, WI)

Blaettler, James. Nieboer, Jan willem. Steensma, Regnerus.  The One Chosen: Images of Christ in Recent New York Art, (ThomasWalsh Gallery, NY)

1996     Tallman, Susan.  The Contemporary Print: From Pre-Pop to Postmodern (book)

Pierce, Rosenberg, J.  A Question of Balance: Artists and Writers on Motherhood, (Papier Mache, Watsonville, CA)

Heiss, Alana.  Streeter, Sabina    Model Home, (The Clocktower Gallery, Institute of Contemporary Art, New York, NY)

1995     Denson, G. Roger.  Chasing Angels, (Christinerose Gallery, New York, NY)

Grigoteit, Ariane, et al.  Tradition and Zeitgeist: Works from the Collection of Deutsche Bank North America, (DuMont Verlag, Köln, Germany)

1994     Morgan, Dahlia.  American Art Today: Heads Only, (The Art Museum, Florida Int’l. University, Miami, FL)

Felshin, Nina.  Empty Dress: Clothing as Surrogate in Recent Art, (Independent)

Decter, Joshua.  Don’t Look Now, (Thread Waxing Space, New York, NY)

1993     Schaffner, Ingrid.  The Return of the Cadavre Exquis, (The Drawing Center, New York, NY)

Phillips, Lisa.  Photoplay: Works from the Chase Manhattan Collection, (The Chase Manhattan Corporation, New York, NY)

Jacobson, Marjory.  Art for Work: The New Renaissance in Corporate Collecting, (HarvardBusiness School Press, Boston, MA)

Hill-Perrell, Franklin.  Image Makers, (Nassau County Museum of Art, Roslyn Harbor, NY)

Espy-Burns, Victoria.  Vivid: Intense Images by American Photographers, (Raab Galerie, Berlin, Germany)

Brunon, Bernard.  Autoportraits Contemporains: Here’s Looking at Me, (Espace Lyonnais d’Art Contemporain, Lyon, France)

Anonymous.  Sex Quake – Art After the Apocalypse, (1st Art- Genes Portable Museum)

1992     Rosenberg, Barry A. Leigh, Christian. Straus, Marc J.  Quotations: The Second History of Art, (The Aldrich Museum of Contemporary Art, Ridgefield, CT)

Colpitt, Frances. Plous, Phyllis.  Knowledge: Aspects of Conceptual Art, (University Art Museum, Santa Barbara, CA)

Bond, Anthony, et al.  9th Biennale of Sydney: The Boundary Rider, (Art Gallery of New South Wales, Sydney, Australia)

1991     Rubin, David S.  Cruciformed: Images of the Cross Since 1980, (Cleveland Center for Contemporary Art, Cleveland, OH)

Reynolds, Jock & Sheldon, James.  Motion and Document – Sequence and Time: Eadweard Muybridge and Contemporary American Photography, (National Museum of American Art, Smithsonian Institution, Washington, DC)

Morin, France, et al.  The Interrupted Life, (New Museum of Contemporary Art, New York, NY)

Liebmann, Lisa.  Southeast Bank Collects: A Corporation Views Contemporary Art, (Southeast Bank)(cat.)

Gumpert, Lynn. Wallis, Brian.  Beyond the Frame: American Art 1960-1990, (Institute of Contemporary Art, Tokyo, Japan)

Belli, Gabriella. Saltz, Jerry.  American Art of the 80’s, (Electa, Milan, Italy)

1990     Cooke, Lynne.  Reorienting: Looking East, (Third Eye Centre, Glasgow, Scotland and Nicola Jacobs, London, UK)

Derrickson, Stephen.  Insect Politics, Body Horror/ Social Order, (Hallwalls Contemporary Art Center, Buffalo, NY)

Gandini, Manuela.  Taking the Picture: Photography and Appropriation, (Castelli, New York, NY and Gallery, Milan, Italy)

Graw, Isabella. Lanzinger, Pia.  Das Sibyllinische Auge: Fotokünstlerinnen aus dem Anglo-Amerikanischen Raum, (Foto e.V. München and Barbara Gross Gallery, Munich, Germany)

1989     Jones, Ronald.  Steinbach, Haim  Avant 1989: Exposition con‡ue par Haim Steinbach, (Fonds Régional d’Art Contemporain, Rhônes-Alpes, France)

Subject:Object, (Nicola Jacobs Gallery, London, UK)

Braulick, Nathan. Haworth, Dale K. Sowder, Lynne.  What Does She Want: Current Feminist Art from the First Bank Collection, (First Bank System Division of Visual Arts)

Butler, Susan.  Bristol and Serpentine Gallery, London)

Ferguson, Bruce. Simon, Joan. Smith, Roberta.  Contemporary Perspective I: Abstraction in Question, (The John and Mable Ringling Museum of Art, Sarasota, FL)

Foresta, Merry A. Smith, Joshua P.  The Photography of Invention: American Pictures of the 1980’s, (M.I.T.Press, Cambridge, MA)

Goldstein, Ann. Jacob, Mary Jane.  A Forest of Signs: Art in the Crisis of Representation, (Museum of Contemporary Art, Los Angeles, CA and M.I.T. Press, Cambridge, MA)

Grundberg, Andy. Saltz, Jerry.  Abstraction in Contemporary Photography, (Emerson Gallery, Hamilton College and Anderson Gallery, Virginia Commonwealth University, Richmond, VA)

Halpern-Brougher. Nora, Hopkins. Henry T. Stein, Donna.  Selected Works from the Frederick R. Weisman Foundation, (Wight Art Gallery, U.C.L.A.)

Hanhardt, John G. Heiferman, Marvin. Phillips, Lisa.  Image World: Art and Media Culture, (Whitney Museum of American Art, New York, NY)

Hoy, Anne.  Fabrications, Staged, Altered and Appropriated Photographs, (Abbeville Press, New York, NY)

Kosuth, Joseph.  The Play of the Unsayable-Wittgenstein and the Art of the XXth Century, (Wiener Secession, Vienna, Austria)

Misiano, Viktor. Wasow, Oliver, et al.  Moskau – Wien – New York, (Wiener Fastwochen, Vienna, Austria)

Rauch, Joseph.  Fictive Strategies: Actuality and Originality in Contemporary Photography, (The Squibb Gallery, Princeton, NJ)

Rosenberg, Barry. Straus, Marc.  Selections from the Collection of Marc and Livia Straus (Aldrich Museum of Contemporary Art, Ridgefield, CT)

Stainback, Charles.  Culture Medium, (International Center of Photography, New York, NY)

1988     Collins, Tricia. Milazzo, Richard. Indiana, Gary.  Hybrid Neutral: Modes of Abstraction and the Social, (Independent Curators Intl., New York, NY)

Carter, Curtis L. Photography On the Edge, (Haggerty Museum of Art, Marquette University, Milwaukee, WI)

Collins, Tricia. Milazzo, Richard.  Art at the End of the Social, (Rooseum, Malmö, Sweden)

Collins, Tricia. Milazzo, Richard. Just Like a Woman, (Greenville County Museum of Art, SC)

Collins, Tricia. Milazzo, Richard. Media Post Media, (Scott Hanson Gallery, New York, NY)

Godeau, Abigail Sol.  Sexual Difference: Both Sides of the Camera, (Wallach Art Gallery, Columbia University, New York, NY)

Liebmann, Lisa. Monforton, Mary-Ann      Contemporary Art Auction to Benefit El Bohio. (Bohio Community and Cultural Center, New York, NY)

1987     Saltz, Jerry.  Recent Tendencies in Black and White, (Sidney Janis Gallery, New York, NY)

Jacobs, Joseph.  This is not a Photograph: Twenty Years of Large Scale Photography; 1966-1986, (The John and Mable Ringling Museum of Art, Sarasota, FL)

Halley, Peter. Saltz, Jerry. Smith, Roberta.  Beyond Boundaries: New York’s New Art, (Alfred van der Marck Editions, New York, NY)

Feinstein, Roni. Contemporary Diptychs: The New Shape of Content, (Whitney Museum of American Art, New York, NY)

Denson, G. Roger. Poetic Injury: The Surrealist Legacy in Postmodern Photography, (Alternative Museum, New York, NY)

Cameron, Dan. Art and Its Double: A New York Perspective, (Centre Cultural de la Fundacio Caixa de Pensions, Barcelona, Spain)

Brunon, Bernard. Contemporary Photographic Portraiture, (Musee St. Pierre, Lyon, France)

1986     Heiferman, Marvin. The Issue of Modern Art in Boston, (Institute of Contemporary Art, Boston, MA)

Collins, Tricia. Milazzo, Richard. Spiritual America, (CEPA Gallery, Buffalo, NY)

Collins, Tricia. Milazzo, Richard. Ultrasurd, (S. L. Simpson Gallery, Toronto, ON)

Heiferman, Marvin. The Big Picture, (The Queens Museum of Art, New York, NY)

Heller, Reinhold. Dissent: The Issue of Modern Art in Boston, (Institute of Contemporary Art, Boston, MA)

1985     Various. 1985 Biennial Exhibition, (Whitney Museum of American Art, New York, NY)

Olander, Bill. The Art of Memory, The Loss of History, (New Museum of Contemporary Art, New York, NY)

Lawson, Thomas. Nagy, Richard. Robbins, David. Trow, George W.S.  Infotainment: 18 Artists from New York, (J. Berg Press, New York, NY)

Jones, Richard. Public Art, (Nexus Contemporary Art Center, Atlanta, GA)

Collins, Tricia.  Milazzo, Richard   Cult and Decorum, (Tibor de Nagy Gallery, New York, NY)

1984     Wallis, Brian. Art After Modernism, Rethinking Representation, (The New Museum of Contemporary Art, New York, NY)

Brooks, Rosetta Between Here and Nowhere: 9 New York Artists, (Riverside Studios, London, UK)

1983     Solomon-Godeau, A. In Plato’s Cave, (Marlborough Gallery, New York, NY)

Olander, Bill. Art and Social Change U.S.A., (Allen Memorial Art Museum, Oberlin College, Oberlin, OH)

1982     Lawson, Tom. Art and the Media: A Fatal Attraction, (The Renaissance Society, University of Chicago, Chicago, IL)

1979     Lambert, Yvon. Artemisia, (Paula Cooper Gallery, New York, NY)

 

PUBLISHED WRITINGS BY THE ARTIST

 

2016     Charlesworth, Sarah. Liz Deschenes, Liz Deschenes On My Mind (article)

2012     Charlesworth, Sarah.  Liz Deschenes On My Mind. (article)

2011     Charlesworth, Sarah.  Artforum, Best Books of 2011: Believing is Seeing (Observations on the Mysteries of Photographs) by Errol Morris. December. (review)

1999     Charlesworth, Sarah.  Interview Magazine, Oct.; Full page photo

1995     Charlesworth, Sarah.  College Art Association Journal, Sarah Charlesworth, Spring, p.78, illus. (statement)

Charlesworth, Sarah.  October, Questions of Feminism: 25 Responses, #71, Winter

Charlesworth, Sarah. Simmons, Laurie.  Laurie Simmons, A.R.T. Press, Pasadena (interview)

1994     Charlesworth, Sarah.  Tema Celeste, La Differenza Tra I Sessi Nell’Arte, Jan. (editorial)

1992     Charlesworth, Sarah.  Tema Celeste, The Role of Gender in Art: Sarah Charlesworth, Autumn (editorial)

1983     Charlesworth, Sarah.  Bomb Magazine, Glossolalia, Spring (collaborative article and special section with Barbara Kruger)

1982     Charlesworth, Sarah.  Artforum, Books: Camera Lucida: Reflections on Photography’ by Roland Barthes, April, p.72-73 (review)

1979     Charlesworth, Sarah.  Art in America, China: Visiting Socialism, March-April

1977     Charlesworth, Sarah. et al. The Anti-Catalog (collaborative project)

1976     Charlesworth, Sarah.  The Fox, For Artists Meeting, vol. I, #3

1975     Charlesworth, Sarah.  The Fox, Declaration of Dependence, vol. I, #1

Charlesworth, Sarah.  The Fox, Memo for the Fox, vol. I, #2

Available Light

11 May, 2018-23 Jun, 2018

Campoli Presti, London

Plages

16 Feb, 2017-18 Mar, 2017

Campoli Presti, London

no images were found

Plages

Monika Baer
Marc Camille Chaimowicz
Sarah Charlesworth
Isabelle Cornaro
Liz Deschenes
Willem de Rooij
Nathalie du Pasquier
Louise Lawler
Nick Mauss
Marisa Merz
Amy Sillman
Cheyney Thompson

17 February – 18 March
Campoli Presti, London

2 February – 4 March
Campoli Presti, Paris

Plages brings together artists that meditate on the place of the subject inthe marking of aspace.The works exploredifferent vision instruments through which we approach everyday objects, and therefore our distance towards them, as well as the opposition between private space and exhibition space throughpremeditated patterns that discuss the idea of functionality.Besidesits usual translation asbeach, the French termPlageisabroadnotionthatindicatesthe perimeter of a space, a time lapse or the latitude between two elements -in this casepublic/private,home/business, decorative/functional.

By pointing out the history of object production and everyday material culture, artistssuch as Sarah Charlesworth, Monika Baer, Nathalie du Pasquier, Amy Sillman, Louise Lawler, Marisa Merz and Isabelle Cornaro reframe overlooked, ordinary objects and question their purpose as consumption, design, or admiration while settinga new distance between subject and object, foreground and background, as in the site-specific, reflective work of Liz Deschenes. The displacement of domestic objects often takesthe form of a renewed artistic appropriation.

The continuity between adomestic space and the exhibition space can also be addressed through the emancipation of design from taste limitations and functional demands. By radicalizing design-based techniques, the work of artists like Nick Mauss, Marc Camille Chaimowicz, and Willem de Rooij can channel multiple painting traditions and reveal collaborative processes. Cheyney Thompson’sinterpretation and intentional distortion of reproductive techniques can take the shape of repetitive patterns that delineate the exhibition area ina suite of canvases.

For further information or images please contact cora@campolipresti.com

Selected by Liz Deschenes

19 Oct, 2016-13 Jan, 2017

no images were found

Press Release

Sarah Charlesworth
Selected by Liz Deschenes
6 rue de Braque

Liz Deschenes
4 rue de Braque, 3rd floor

Campoli Presti is pleased to present the first solo exhibition of works by Sarah Charlesworth at the gallery. Selected by Liz Deschenes, the works are displayed in the ground floor of 6 rue de Braque. Liz Deschenes will present a photographic installation in the newly added gallery space at 4 rue de Braque.

Charlesworth’s influential body of work deconstructed the conventions of photography and established the medium’s centrality in our perception of the world. Like contemporaries Laurie Simmons, Cindy Sherman, Jack Goldstein, Barbara Kruger, and Richard Prince, Charlesworth was later associated with the heterogeneous group of conceptual artists identified as Pictures Generation. Charlesworth stages volatile worlds, isolating objects on monochrome backgrounds to reveal the constructed nature of visual culture and question systems of image distribution.

For the exhibition at Campoli Presti, Liz Deschenes has selected works from Charlesworth’s 0+1 series. Single objects that count as visual fetishes (an altar, a skull) are surrendered to gravity and are exposed to a vaporous light that makes them simultaneously appear and recede. Their fragile existence responds to the uncertain economy of images, which can either accelerate their reproduction or make them disappear over time. Rendered in polished lacquer wooden frames, each object is meticulously staged, contributing to the theatricality of their presentation.

These photographs revisit many of the iconic images that Sarah Charlesworth worked with in her Objects of Desire series throughout the 1980’s, in which the objects were isolated on single-coloured backgrounds. Rather than cutting out and pasting onto vibrant tones, the photographs in 0+1 are made by arranging still-lifes of white objects on white backgrounds in the studio, sometimes obscuring the images further through selective focus or by placing veils between the camera and object. Connecting the artist’s early and late career work, this series is pivotal as it establishes the visual syntax that defines Charlesworth’s production.

Similarly exploring the potential of photography besides its document form, Liz Deschenes produces unique, site-specific work that reflects on the medium in expansive terms. Liz Deschenes’ work has been increasingly concerned with the interaction between the history of a site, its possibilities of display and the viewer’s awareness of his or her own perceptual and physical experience in the space.

For her presentation at Campoli Presti, Liz Deschenes will make an intervention in the new gallery space at 4 rue de Braque with a photographic installation. The geometrical shape and angled frame of the silvertoned photograms mark the space in different segments and open up new reading directions, both of the artwork and the architecture that surrounds it. Freestanding paneled works from this series have first been presented at the Walker Art Center in 2014, where Deschenes’ works echoed different architectural features of the Walker’s 1971 building, especially the stairs that take visitors from one gallery to the building’s outdoor terraces. For Deschenes’ year-long installation at MassMOCA in 2015, translucent acrylic panels made the elements relate to one another and multiply angles of view.

Sarah Charlesworth was born in 1947 in East Orange, New Jersey, and passed away in 2013 in Falls Village, Connecticut. She has been the subject of solo exhibitions at a number of institutions, including a solo survey exhibition at New Museum, New York (2015) and a retrospective organized by SITE Santa Fe (1997), which traveled to the Museum of Contemporary Art, San Diego (1998); the National Museum of Women in the Arts, Washington, DC (1998); and the Cleveland Center for Contemporary Art (1999). Charlesworth’s Stills series was recently completed and presented for the first time at the Art Institute of Chicago (2014). Her work has been included in numerous group exhibitions, including the 77th Whitney Biennial, the Whitney Museum of American Art, New York (2014); Shock the News, National Gallery of Art, Washington DC (2012); Signs of a Struggle: Photography in the Wake of Postmodernism, the Victoria and Albert Museum, London (2011); September 11, the Museum of Modern Art, New York (2011); The Last Newspaper, the New Museum, New York (2010); The Pictures Generation, 1974–1984, the Metropolitan Museum of Art, New York (2009); and The Last Picture Show: Artists Using Photography 1960-1982, the Walker Art Center, Minneapolis (2004). Charlesworth taught photography for many years at the School of the Visual Arts, New York; the Rhode Island School of Design, Providence; and Princeton University, NJ.

Liz Deschenes’ work is part of the permanent collections of Centre Pompidou, Paris; MoMA, New York; Whitney Museum of American Art, New York; The Metropolitan Museum of Art, New York; The Walker Art Center, Minneapolis; The Art Institute of Chicago; Hirshhorn Museum and Sculpture Garden, Washington D.C; Corcoran Museum of Art, Washington D.C. and CCS Bard Hessel Museum, Annandale-on Hudson. Deschenes has a current survey exhibition at the ICA Boston with an accompanying monograph. She recently had solo exhibitions at the Walker Art Center, Minneapolis (2014); at MASSMoCA, North Adams (2015) and at Secession, Vienna (2012-2013). Deschenes’ work is currently on view at the Centre Pompidou, Paris in Collected by Thea Westreich Wagner and Ethan Wagner travelling from the Whitney Museum, New York. Past exhibitions include Sites of Reason: A Selection of Recent Acquisitions at MoMA, New York; the Whitney Biennial 2012 and Parcours at the Art Institute of Chicago with Florian Pumhösl (2013).