La Galleria Giò Marconi è lieta di presentare nei suoi spazi al piano terra "The Inevitable and the Unnecessary", seconda personale dedicata all'artista newyorkese Matthew Brannon. La mostra inaugura venerdì 18 novembre ed è visitabile fino all'11 gennaio 2011.
In primo piano nelle opere dell'artista temi come l'incoerenza, l'accesso, il desiderio represso, l'alcolismo, la carriera.

Nel corso degli anni, il lavoro di Brannon si è espresso in un'ampia varietà di forme: arazzi, stampe in rilievo, silkscreens, affreschi, registrazioni sonore, scritti e film. A questa lista ora l'artista aggiunge le più convenzionali tra le forme d'arte: la pittura ad olio e il disegno. Le pitture, realizzate in tonalità monocromatiche di grigio, bianco e nero, raffigurano forme floreali astratte ispirate a disegni che Brannon ha realizzato dal vivo. Alcune rimandano a scenari di giardini notturni; altre sembrano immortalare foglie bianche che cadono su sfondi grigio pallido.

Esposti uno accanto all'altro i dipinti danno luogo ad una serie che letteralmente rovescia la pittura com'è convenzionalmente espressa e recepita.
I lavori fronteggiano metaforicamente il muro e mostrano allo spettatore il retro. Così facendo rendono visibile la materia grezza di cui si serve l'artista, o chi si fregia di tale nomina.
Insieme ad una varietà di acrilici Brannon presenta nuove sculture. In esse si percepisce il tono canzonatorio di Brannon nei confronti di quella che è l'immagine clichè di artista: solo nel suo studio, di notte, che beve vino, fuma, legge stropicciate edizioni tascabili, ascolta dischi jazz e si pulisce le mani sporche di pittura sui jeans.

Altre sculture ricostruiscono scaffali da bar su cui sono appoggiate mani scolpite a grandezza naturale e bottiglie di legno dipinte, i cui colori rimandano a quelli dal gusto neutro dei dipinti.
Sia il piacere del bere che le sue conseguenze sono state e sono un soggetto costante nel lavoro di Brannon.

In mostra anche due letterpress, lavori distintivi dell'opera di Brannon, in cui illustrazioni e testi convivono.

Alla domanda "qual'è il ruolo dell'arte?", una volta Brannon ha risposto " l'arte è una frustrazione produttiva e una piacevole irritazione".
Una delle priorità dell'artista è il coinvolgimento del pubblico: il suo lavoro vuole essere irritante o provocatore/canzonatore, non per distrarre ma per diventare un'opportunità di porsi domande sulle nostre motivazioni e i nostri desideri.
Un''opportunità di ricostruire la storia come se ci trovassimo sulla scena del crimine: è sangue questo sparso su tutto il pavimento o è solo vino versato?

Matthew Brannon è nato a St. Maries, Idaho, nel 1971. Vive e lavora a New York.
Nel 2011 Matthew Brannon terrà una mostra personale presso Portikus, a Francoforte.
Matthew Brannon ha tenuto mostre personali presso: Museum M. Leuven, Belgium; Ursula Blickle Stiftung, Kraichtal, Germany; Nottingham Contemporary, Nottingham, England; Künstlerhaus Bethanien, Berlin.
I suoi lavori sono stati presentati in mostre tenutesi presso: Denver Art Museum, Denver; ICA, London; Whitney Museum of American Art, New York; Center for Curatorial Studies, Bard College, Annandale-on-Hudson, NY; Nottingham Contemporary, Nottingham; Redux Contemporary Art Center, Charleston, SC; Art Projects, Moscow; Cirrus, Los Angeles; Contemporary Art Centre, Vilnius; Badischer Kunstverein, Karlsruhe; P.S. 1, New York; T2Torino Triennale, Turin; White Columns, New York; Museum of Modern Art, New York; Museum of Contemporary Art, Detroit; Le Musée du Serignan, Serignan: Herning Art Museum, Copenhagen; The Centre for Contemporary Art, Zanek Ujazdowski, Warsaw; Museum of Modern Art, Oslo; Kunsthalle Düsseldorf; Columbia University, New York

MATTHEW BRANNON

Born 1971 in St. Maries, Idaho
Lives and works in New York


EDUCATION

1999 M.F.A., Columbia University, New York
1995 B.A., University of California, Los Angeles

SOLO EXHIBITIONS

2011 Portikus, Frankfurt (upcoming)

2010 the inevitable & the unecessary, Galleria Gió Marconi, Milan (upcoming)
Wit’s End, David Kordansky, Los Angeles (upcoming)
Mouse Trap, Light Switch, Museum M, Leuven, Belgium
Reservations, Ursula Blickle Stiftung, curated by Daniel Birnbaum, Kraichtal, Germany

2009 Café Bar, Nottingham Contemporary, Nottingham
Nevertheless, The Approach, London

2008 The Question is a Compliment, Friedrich Petzel Gallery, New York
Grandmothers, Galleria Gió Marconi, Milan

2007 Where Were We, Whitney Museum of American Art at Altria, New York
Try and Be Grateful, Art Gallery of York University, Toronto

2006 Cum Together, Friedrich Petzel Gallery, New York
Shoegazers & Graverobbers, Art 37 Statements, David Kordansky Gallery, Basel
Hyena, Jan Winkelmann/Berlin, Berlin

2005 Meat Eating Plants, David Kordansky Gallery, Los Angeles
Penetration, Jan Winkelmann/Berlin, Berlin

2004 Exhausted Blood & Imitation Salt, John Connelly Presents, New York
If Direction Is a Look, with Sarah Morris, Galería Javier López, Madrid

2003 Tatum O’Neals Birthday Party, Kevin Bruk Gallery, Miami

2000 Soft Rock, Künstlerhaus Bethanien, Berlin


GROUP EXHIBITIONS

2010 Behind the Curtain, Galleria Gió Marconi, Milan
At Home/Not at Home: Works from the Collection of Martin and Rebecca Eisenberg, Center for Curatorial Studies, Bard College, Annandale-on-Hudson, NY
Cabinet of Curiosities with Pablo Bronstein, Matthew Brannon, Anthea Hamilton and Wayne Kostenbaum, Nottingham Contemporary, Nottingham, England
Owl Stretching Time, curated by Gyonata Bonvicini, Galerie Nordenhake, Berlin
We pictured You Reading this, curated by James Bae, Redux Contemporary Art Center, Charleston, SC
Interim in Three Rounds, Round Three, Friedrich Petzel Gallery, New York
Matthew Brannon / Mathew Cerletty / David Diao / Daniel Sinsel, Office Baroque Gallery, Antwerp
The Space Between Reference and Regret, Friedrich Petzel Gallery, New York
Permanent Transients, Country Club, Cincinnati, OH


2009 Nothing Up My Sleeve, Participant Inc. New York
Words, Worlds, Nottingham Contemporary, Nottingham
Embrace, Denver Art Museum, Denver
Five, Baibakova Art Projects, Moscow
No Shoes on the Carpet, Cirrus, Los Angeles
Poor. Tired. Old Horse., ICA, London
Born in the Morning, Dead by Night, Leo Koenig, Inc, New York
Code Share, curated by Simon Rees, Contemporary Art Centre, Vilnius
Matthew Brannon, Marcel Broodthaers, James Lee Byars, William E. Jones, David Kordansky Gallery, Los Angeles
Beg, Borrow, and Steal, Rubell Family Collection, Miami
Learn to Read Art: A History of Printer Matter, curated by AA Bronson, Badischer Kunstverein, Karlsruhe; P.S. 1, New York

2008 Kunst im Hei, Captain Petzel, Berlin
Whitney Biennial, Whitney Museum of American Art, New York
50 Moons of Saturn, T2Torino Trienniale, curated by Daniel Birnbaum, Turin
Fair Market, curated by Haley Mellin, Rental Gallery, New York
DISPATCH Portfolio Project #2, DISPATCH, New York
One Day I Woke Up Very Early, Office Baroque Gallery, Antwerp
Featuring, Galerie Chez Valentine, Paris
Tapestry, Karyn Lovegrove Gallery at Hudson Salon, Los Angeles
group show in Dusseldorf.
Acquisitions, Gifts, and Works from Various Exhibitions 1985-2008, curated by Bob Nickas, White Columns, New York *

2007 Multiplex: Directions in Art, 1970 to Now, curated Deborah Wye,
Museum of Modern Art New York, New York
Stuff: International Contemporary Art from the Collection of Burt Aaron,
Museum of Contemporary Art, Detroit
On the Marriage Broker Joke, Office Baroque Gallery, Antwerp
(the) Melvins @ (the) Mandrake, curated by Bob Nickas, The Mandrake, Los Angeles
Uncertain States of America: American Art in the 3rd Millenium, curated by Daniel Birnbaum, Hans Ulrich Obrist and Gunnar Kvaran, Le Musée du Serignan, Serignan: Herning Art Museum, Copenhagen; The Centre for Contemporary Art, Zanek Ujazdowski, Warsaw *

2006 Bring the War Home, QED Gallery, Los Angeles
Uncertain States of America: American Art in the 3rd Millenium, The Center for Curatorial Studies, Bard College, Annandale-on-Hudson; Reykjavik Art Museum, Reykjavik;
Serpentine Gallery, London *
666, curated by Jan Tumlir, USC Roski School of Fine Arts, Los Angeles
Social Design, curated by Angelika Stepken, Badischer Kunstverein, Karlsruhe
Exquisite Corpse, curated by Bob Nickas, Mitchell Algus Gallery, New York
Matthew Brannon, Wade Guyton, Patrick Hill, United Artists. Ltd., Marfa
Slow Burn, curated by Jonah Freeman, Galerie Edward Mitterrand, Geneva

2005 Uncertain States of America: American Art in the 3rd Millenium,
Astrup Fearnley Museum of Modern Art, Oslo
Passion Beyond Reason, a Miller/Rockenschaub Project Wallstreet 1, Berlin,
Temporary Import, curated by Susanne Titz, Art Forum Berlin, Special Exhibitions, Berlin
Threshold, Max Wigram, London
New Tapestries, Sara Meltzer, New York
We Could Have Invited Everyone, curated by Peter Coffin, Andrew Kreps Gallery, NewYork*
Th Most Splendid Apocalypse, curated by Jason Murison, PPOW, New York
ost No Bills, curated by Matthew Higgs, White Columns, New York
There Is a City in My Mind, Southfirst, New York
Wordplay, Julie Saul Gallery, New York
Lesser New York, A Fia Backström Production, New York *
Greater New York, PS1/MoMA, New York *
We love Amerika, Jan Winkelmann/Berlin, Berlin

2004 Halloween Horror Films, Southfirst, New York
Besides, popularity is a rather lumpy concept, no?, curated by
Raif Brog and Petra Rinck, Kunsthalle Düsseldorf*
Summer Summary, curated by Roger White, temporary space, New York
Noctambule, D’Amelio Terras at The Fondation Dosne - Bibliotheque Thiers, Paris
Curious Crystals of Unusual Purity, curated by Bob Nickas and Steve Lafrenier,
PS1/MoMA, New York
Tapestry from an Asteroid, Golinko Kordansky Gallery, Los Angeles
Hohe Berge, Tiefes Tal, curated by Markus Draper, Autocenter, Berlin
Collection: How I Spent a Year, curated by Bob Nickas, PS1/MoMA, New York*
Lumpen Decadents, curated by Gean Moreno, Ingalls & Associates, Miami
Cave Canem, John Connelly Presents, New York

2003 Kult 48 Klubhouse, curated by Scott Hug, Deitch Projects, New York*
Snowblind, with Wade Guyton & Mungo Thomson, John Connelly Presents, New York
My people were fair and had cum in their hair (but now they’re content to spray the stars from you boughs), curated by Bob Nickas, Team Gallery, New York
Inaugural Exhibition, Golinko Kordansky Gallery, Los Angeles
I’m Afraid of Everything, Blonde Revolution, New York
Escape from New York, curated by Jason Murison, Summit Art Center, Summit *
Corporate Profits vs. Labor Costs, D’Amelio Terras, New York
Parking Lot, Ten in One Gallery, New York
The Melvins, curated by Bob Nickas, Anton Kern Gallery, New York*
Late to Work Everyday, curated by Noah Sheldon, DuPreau Gallery, Chicago
Talking Pieces, Text and Image in Contemporary Art, curated by Ute Riese,
Museum Morsbroich, Leverkusen, Germany*

2002 Triple Theatre, with Heidie Giannotti, Triple Candie, New York
Dark Spring, curated by Nicolaus Schafhausen and Liam Gillick,
Ursula Blickle Stiftung, Kraichtal*

2001 Dedalic Convention, curated by Liam Gillick and Annette Kosak, MAK, Vienna*

2000 Luggage, curated by Matthew Brannon, Galerie Max Hetzler, Berlin
@, curated by Jason Murison, PPOW Gallery, New York

1999 Made Especially for You, curated by Jenelle Porter, Artists Space, New York*
The Wight Biennial, curated by Mungo Thomson, The New Wight Gallery, Los Angeles*
MFA Thesis Exhibition, curated by Thelma Golden, Columbia University, New York*

1998 1 + 3 = 4 x 1, collaboration with Liam Gillick, curated by Susanne Gaensheimer, Galerie fuer Zeitgenossische Kuns, Liepzig
Oh My God I live on the thirteenth floor in Holland, which doesn’t exist in the United States, or no?, collaboration with George Rush, curated by Jay Batlle, H. Cleyndertweg 13 space, Amsterdam

1996 Paint as Purpose, curated by Roger Ray and Jesse H. Rivard, Purple Gallery, Los Angeles
New Memory, curated by Slater Bradley, Spanish Kitchen Studios, Los Angeles

1995 The 1995 Banale, curated by Michelle Alpern, RE: Solution Gallery, Los Angeles


BIBLIOGRAPHY

2010
“Nothing Up My Sleeve”, New York: Regency Arts Press Ltd., 2010, pp. 46-47.
“At Home/Not At Home: Works from the Collection of Martin and Rebecca Eisenberg”, Annandale-on-Hudson: Center for Curatorial Studies, Bard College, 2010
Stern, Steven. “Stuart Sherman”. Frieze, March 2010, p. 139.
2009
• Heinrich, Christoph and Jeff Wells, V2: Embrace!, Denver: Denver Art Museum, 2009.
• The Saatchi Gallery, Abstract America, New York: Rizzoli Publishers, 2009.
• Pulimood, Steve. “Prints and Predators,” Sleek Magazine, Winter, pp. 188 – 195.
• Cotter, Holland. “A Tabletop Conjurer, Rediscovered,” New York Times, November 30, art section.
• Delbecq, Marcelline. “Worst Case Scenario, Matthew Brannon,” Roven, n°2 / automne-hiver 2009-2010, pp. 100-105.
• Monk, Phillip. “Matthew Brannon,” Flash Art, March/April 2009, p.65
• Rees, Simon. “Best of Group Shows 2008: Not So Subtle Subtitle,” Frieze, January – February, p.102
• Foumberg, Jason. “Current Shows: Matthew Brannon, Marcel Broodthaers, James Lee Byars, William E. Jones,” Frieze, June
• Birnbaum, Daniel, T2 Torino Triennale, 50 Moons of Saturn, Castello de Rivoli Museum of Contemporary Art, Fondazione Sandretto Re, Rebaudengo, Fondazione Torino Musei, Torino, 2008-2009, p.210 - 215
• Conti, Samantha. “Baibakova Makes Her Mark in the Art World,” WWD
• Sherman, Lauren. “Print Isn’t Dead: The ancient craft of letterpress is making a comback,,” Forbes, June 8, p. 68
• Rees, Simon. “Best of Group Shows 2008: Not So Subtle Subtitle,” Frieze, January-February, p 102.


2008

• Higgie, Jennifer, “The Embarrassing Truth,” Frieze, November/December, cover pp 166-171.
• Nicolin, Poala. “Matthew e le storie a colori, Letizia e le vite immaginarie,” GQ Italia, October, p 409.
• Jones, Kristin M. “Not So Subtle Subtitle,” Frieze, October, p 306
• Turvey, Lisa. “Matthew Brannon at Friedrich Petzel Gallery,” Artforum, September, p. 460.
• Johnson, Ken. “Some Shows for Escape, Some for Introspection,” The New York Times, July 4, p. E30.
• Schwendener, Martha. “Not So Subtle Subtitle,” The New Yorker, July 21. p. 12
• Barliant, Claire. “New York Summer Group Shows: Artist as Curator,” Artinfo, July, online, ill.
• Castets, Simon. “Subtle Selection,” VMagazine, June 20, online, ill.
• Droitcour, Brian. “Critic’s Pick: Matthew Brannon.” Artforum, June, online, ill.
• Rosenberg, Karen. “Matthew Brannon, The Question Is a Compliment”
The New York Times, June 13, p. 26.
• “Matthew Brannon, ‘The Question is a Compliment’,” The New Yorker, June 30, p. 13.
• Falconer, Morgan. “Morgan Falconer on Matthew Brannon at Friedrich Petzel, New York,” Saatchi Gallery Online, June, ill.
• Arlien-Soborg, Mads. “Artists Must-haves,” Dansk edition 17, p. 46-47, ill.
• “Current Viewing: ,” The Imagist, June 24, ill.
• Monk, Philip. “More Than You Know,” To Say the Very Least catalogue,
Art Gallery of York University, pp. 143-153, ill.
• Turvey, Lisa. “Matthew Brannon,” Whitney Biennial 2008 exhibition catalogue,
Whitney Museum of American Art, pp. 108-109, ill.
• Stern, Steven. “Whiitney Biennial,” Frieze, May 2008, pp. 164-165
• Searle, Adrian, “Nice Building – Shame About the Art,” The Guardian, March, pp.
• Egan, Maura. “Now Viewing: Matthew Brannon,” The New York Times T Magazine,
May, online, ill.
• Cotter, Holland, “Art’s Economic Indicator,” New York Times, March 7, pp. 31, 34, ill
• Vogel, Carol, “A Biennial Bustin’ Out of the Whitney,” New York Times, February 29. pp. 31-32, ill.

2007

• Chen, Howie, “Chapter 11” Where Were We exhibition catalogue,
The Whitney Museum of American Art, pp. 3-18, ill.
• Bryant, Eric. “Paint It Bleak,” Art News, December, pp. 128-131, ill.
• Wolff, Rachel. “Young Masters,” New York Magazine, October 15, p. 48, ill.
• Brannon, Matthew, “Out-of-body Experience,” The New York Times Style Magazine,
pp. 276-279, ill.
• Brannon, Matthew, “Eel at Ease,” V Magazine, Fall Preview, p. 69, ill.
• Brown, Nicholas. “The Language of Success: Anxiety and excess in Matthew Brannon’s
Try and be grateful,” Color Magazine, vol. 5, no. 2, pp. 98-107 ill.
• Kunitz, Daniel. “A Wicked Ventriloquist,” The New York Sun, June 14, p. 20 ill.
• Schwendener, Martha. “Whitney Museum at Altria: Matthew Brannon, ‘Where Were We’,” The New York Times, May 18, p. 25.
• “Matthew Brannon, “Where Were We”,” The New Yorker, May 14, p. 24.
• Ratner, Megan. “Tongue in Chic: The guilty pleasure of looking at Matthew Brannon’s slyly subversive posters,” Art on Paper, May - June, vol. 11, no. 5, pp. 50 – 55, cover ill. and ill
• Listings Editor. “Matthew Brannon, ‘Where Were We’,” Time Out New York,
April 26 – May 2, p. 110, ill.
• Listings Editor. “Matthew Brannon,” Monopol, April, p. 124, ill.
• Scott, Andrea K. “Matthew Brannon, ‘Where Were We’,” Time Out New York,
April 12 – 18, p. 86, ill.
• Schwendener, Martha, “Material Muse for Some Strange Bedfellows,”
The New York Times, April 6, p. E34, ill.
• “Whitney at Altria to Present Matthew Brannon: Where Were We,” ArtXWorld.com, March 7
• Milroy, Sarah. “A Riot of Dark Fragments,” Toronto Globe and Mail, March 1, ill.
• Feldman, Jenny. “Beautiful Dreamers,” Elle, March, p. 198, ill.

2006

• Ellis, Patricia. “Matthew Brannon,” USA Today: New American Art from The Saatchi Gallery exhibition catalogue, Royal Academy of Arts, pp. 60 - 69, ill.
• Lawrence, Vanessa. “Graphic Art,” Women’s Wear Daily, October 5, p. 4, ill.
• Muhle, Maria. “Mood Swings,” Texte Zur Kunst, September 2006, pp. 194-96, ill.
• Funcke, Bettina A.W., ed. Allen Ruppersberg, Seth Price, Matthew Brannon, Donald Judd, and Johanna Burton, Continuous Project #8, pp. 56 – 57, ill.
• Cotter, Holland. “At a Group Show in Chelsea, the Art is Sharp but the Categories Blurry,” The New York Times, August 16,
• Ward, Ossian. “Matthew Brannon: impenetrable collectible,” The Art Newspaper,
Art Basel Daily Edition, June 14, p. 8.
• Cromwell, Wendy. “Buying into a Trend,” Art on Paper, May/June, p. 22.
• Pavone, Rosa. “Never Innocent, Casual, or Involuntary: An Interview with
Matthew Brannon,” Uovo, April, pp. 138- 155, ill.
• Blom, Ina. “The Young Americans,” Texte Zur Kunst, March 2006, pp. 169-173.
• Tumlir, Jan. “Openings: Jan Tumlir on Matthew Brannon,” Artforum, Feb., pp. 196 – 197.
.

2005

• Uncertain States of America: American Art in the 3rd Millenium (exh. cat.), Astrup Fearnley Museum of Modern Art, Oslo, 2005, pp. 30 – 33, ill.

2004

• White, Roger. “In Conversation: Matthew Brannon with Roger White,”
The Brooklyn Rail, April 2004.


ARTIST’S WRITINGS

2010
• “Matthew Brannon on Guy de Cointet”, Mousse Magazine,

2009

• “Matthew Brannon,” Dazed and Confused, vol. 72, iss. 78, p. 208.
• “Liam Gillick: Interview by Matthew Brannon,” Interview, June/July, p 74-77.
• “Thoughts in Simon Dybbroe Moeller’s about fashion and history, about waiting,” Kunstverein Hannover, catalogue essay, p 70-76.
• “Like it or Not: Matthew Brannon on Lynn Spigels’s TV by Design,” Artforum, February, p 57-58.
• “Matthew Brannon,” I Like Your Work: Art and Etiquette, Paper Monument, p. 53.
• “Where Were We: Art Basel 2009,” V Magazine, May


2008

• Brannon, Matthew. “Without Baggage, With Pistoletto: Thoughts on Eileen Quinlan’s photographs,” Mousse Magazine, p 31-33.
• “Questionnaire,” Frieze, March 2008, p. 200.
• “Family Guide by Matthew Brannon,” Whitney Biennial 2008, 10 page brochure


2007

• “Who is Guy de Cointet?” Artforum, Summer 2007, p. 414.


PUBLIC COMMISIONS

Nottingham Contemporary, Nottingham
June Noble Larkin Lobby, Julliard, New York


VISITS AND LECTURES

2010
Whitney Museum, New York
Public Conversation between Haley Mellin and Matthew Brannon, MoMA, New York
Cal Arts, Valencia, CA
University of Southern California, Los Angeles
Cornell University, New York

2009
University of California, Irvine
University of California, Riverside
Yale School of the Arts, New Haven
New York University, New York
School of Visual Arts, New York
Nostalgia: What’s the Role of the Past in Fashioning the Future?, Frieze Talks, October 17.





PUBLICATIONS / PROJECTS / EDITIONS

2010
“If I Said it, I Don’t Remember”, KALEIDOSCOPE Issue 6, April / May 2010, pp. 98-103.
“Guy De Cointet”, Mousse, Issue 22, February / March 2010, pp. 72-77.
“Under the Mattress”, Paper Monument, 4 pages insert
T-shirt Design, ADAM + Whitney Museum of American Art, New York

2009

“Between the Lines, Volume II,” children’s benefit coloring book pages, RxArt
“Nostalgia Panel,” participant, Frieze Talks Program at Frieze Art Fair, October 17.
“Misused Pronouns,” ICA, London, September, silkscreen ed. 150
Fondazione Sandretto Re, silkscreen ed. 200
“You Tell Me,” Verdure, Numéro 2, Nice, insert
“Under the Mattress,” Paper Monument, 4 page insert
Nottingham Contemporary, Nottingham
June Noble Larkin Lobby, Julliard, New York
VISIONAIRE, Issue 57
“And you remember thinking…” t-shirt design for Whitney Museum by ADAM

2008

Frieze, November/December, cover
Frieze, October iss. 118, p. 216, insert
“50 Moons of Saturn: T2 Torino Triennale,” catalogue graphic design with Alex Lesy
“Hyena,” [soundtrack edition], DISPATCH, July 13, performance
“Not So Subtle Subtitle,” ed. Matthew Brannon, Casey Kaplan Gallery, book
“To Say the Very Least,” Art Gallery of York University, catalogue
“Where Were We,” DISPATCH, June, silkscreen ed. 17
Cirrus Editions, Jean Millant publisher silkscreen ed. 50
“An Overflowing Cup,” poem, 2008 Whitney Biennial Catalog, p. 273, insert

2007

“Hyena,” numbered edition of 100, book
“Use Value,” Heather Rowe: Shards, D”amelio Terras, p. 54-55, ill., insert
“Artist Projects: CMYK,” curated by Walead Beshty, Cabinet, Issue 27, Fall 2007,
pp. 36-37 ill., insert
“Out-of-Body Experience” The New York Times Style Magazine, August 26, 2007,
pp. 276-279, ill., insert
“Poem for Guy de Cointet,” Artforum, p. 414, insert

2006

“Performance Anxiety” Printed Matter, silkscreen ed. 200
“Teachers Fuck Students” Texte zur Kunst, junge edition nr. 63, silkscreen ed. 60
North Drive Press, multiple, Issue 3, New York, NY.
LAB Magazine, Issue 1, ed. Adam Pendleton, Galerie Yvon Lambert, Paris, insert
K48 Magazine, K48 6, New York, NY. p. 82-8, insert

2005

Parkett, Issue 73, New York/Zurich, insert
SITE, Issue 8, Düsseldorf, insert
On the Beach, curated by Justin Lowe. Printed Matter, New York

2003

Poster Project in 3 Locations, curated by Ralf Brog & Petra Rinck, SITE Ausstellungsraum, Düsseldorf, Art Frankfurt, Frankfurt & Reg Vardy Gallery, London
K48 Magazine, K48 4, New York, NY. p. 72-73, insert
Charley Magazine, Ed. Cattelan, Funcke, Gioni and Subotnick p. 94, insert

2002

SITE Magazin, Issue 8, Düsseldorf, Germany p. 26-29, insert
SITE Magazin, Issue 6, Düsseldorf, Germany p. 80-83, insert
Open City, ed. Mungo Thomson, Issue 16, New York, p. 119, insert

2001

The UKS Biennial, book jacket, collaboration with Heidie Giannotti, Norway


AS CURATOR

2008 Not So Subtle Subtitle, Casey Kaplan Gallery, New York, 6.19—7.31

2005 Good Titles from Bad Books, Kevin Bruk Gallery, Miami, 9.4—1.6

2000 Luggage, Max Hetzler Gallery, Berlin, 8.29—9.28

1999 Fuck Yourself, Miller Theater Lobby, Columbia University, New York

1998 exhibition|EXHIBITION 1998, Miller Theater Lobby, Columbia University, New York
This Description, Miller Theater Lobby, Columbia University, New York

1997 Thug Life, or How I Learned to Draw, Watson Gallery, Columbia University, New York