JOHN MILLER


Exhibitions  

1980-1985

1986-1989

1990-1995

1996-1999

2000-2005

2006-2009

2010-Present


Essays
Publications
Collaborations

Bio/Bibliography
Contact


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© 2005-2010

 

2013

"The Golden Age: Aura Rosenberg," Bomb Magazine, bomblog, January 23: http://bombsite.com/articles/7034 (accessed February 23, 2013).

 

2012

"The Universal Solvent," Left Behind: Essays, edited by Charlotte Laubard and Jim Shaw (Bordeaux: les presses du réel and CAPC musée d'art contemperain de Bordeaux).

"The Impossibility of Psychedelia," Only Parts of us will ever touch parts of others (Paris: Galerie Thaddaeus Ropac).

“In Memoriam,” Texte zur Kunst, Vol. 22, No. 85: 245-7.

“From My Institution to Yours: a Personal Remembrance,” art agenda, February 6: http://www.art-agenda.com/reviews/mike-kelley-1954%E2%80%932012/ (accessed March 11, 2012).

“Mike Kelley (1954-2012): Ten Tributes,” Frieze, No. 146 (April): 127.

“No,” Angela Bulloch (Rotterdam: Witte de Witte Center for Contemporary Art).

“The Universal Solvent,” Left Behind: Essays, edited by Charlotte Laubard and Jim Shaw (Bordeaux: les presses du réel and CAPC musée d'art contemperain de Bordeaux).

 

2011

“Art Schools, the Internet and the Violin Playing Mermaids: a Conversation between John Miller and Tony Conrad,” Mousse Contemporary Art Magazine, No. 28, April-May: 48-61.

“Painting, Object, Theater,” Monika Baer, (Köln: Verlag der Buchhandlung Walther König).

“POP RIGHT NOW: Roundtable with Bettina Funcke, Massimiliano Gioni, John Miller, moderated by Joanna Fiduccia, with a postscript by Boris Groys, and artworks by Darren Bader, Kaleidoscope, No. 11 (Summer 2011): pp. 93-105.

“Tomorrow Is the Question: John Miller on the Art of Ilene Segalove,” Artforum, Vol. 50, No. 2 (October 2011): pp. 262-67.

“American Exuberance,” American Exuberance (Miami: Rubell Family Collection).

 

2010

“Noise Paintings,” Kim Gordon, The Noise Paintings, Ecstatic Peace Library, John McWhinnie and Glenn Horowitz Bookseller, New York, 2010.

 

2009

“Sodom and Gomorrah,” Paul Thek: Artists’ Artist, MIT Press, Cambridge/Massachusetts 2009, pp. 130-135.

“Fun Gallery,” Grey Room. MIT Press Journals, Cambridge/Massachusetts, no. 35, Spring 2009, p. 93–99.

“The Ruin of Exchange,” Peephole Sheet, Milan, no. 2, Fall 2009, p. D–I.

“Enigma No. 3,” Kaleidoscope, Milan, no. 3, September–October 2009, p. 46–47.

“For a Set of Abandoned Futures / Aufgegebene Varianten der Zukunft,” Parkett, Zurich/New York, no. 84, January 2009, p. 132–137 (English), p. 138–143 (German).

“Pop by Other Means,“  SONIC YOUTH etc. : SENSATIONAL FIX, editor: Roland Groenenboom,
Museion Bolzano/Bozen, LiFE St. Nazaire and Walther König Verlag, Köln, pp. 130-132

 

2008

“Character Actor,” AMERICAAMERICA, Printed Matter, New York 2008, pp. 77-78.

“Meeting of Minds: John Miller Puts Five Questions to Nicolás Guagnini,” Modern Painters, New York/London, December 2008–January 2008, p. 112.

“In What Ways Have Artists, Academics, and Cultural Institutions Responded to the U.S.-Led Invasion and Occupation of Iraq?” October, no. 123, Winter 2008,MIT Press Journals, Cambridge/Massachusetts, p. 116.

 

2007

“Excremental Value,” Tate Etc.,London, no. 10, Summer 2007, p. 40–43.

“Surplus Production,” Between Two Deaths, Ellen Blumenstein and Felix Ensslin (Eds.), ZKM–Zentrum für Kunst und Medientechnologie, Karlsruhe 2007, pp. 118-121.

“Shape Shifter,” Texte zur Kunst, Berlin, vol. 17, no. 66, June 2007, p. 116–119.

“Reden kostet nichts / Talk is Cheap?,” Texte zur Kunst, Berlin, vol. 17, no. 67, September 2007, p. 70–81 (German) and 148-153 (Engl.).

“Die Patzierung von Sound – Florian Heckers räumliche Musik / The Placement of Sound: Florian Hecker’s Spatial Music,” ars viva 07/08, Revolver–Archiv für aktuelle Kunst, Frankfurt am Main 2007, pp. 105-110 (German) and 111-114 (Engl.)

“For a Political Economy of the Petting Zoo,” Amy O’Neill, Les presses du réel, Dijon 2007, pp. 9-10.

 

2006

“Double or Nothing: The Art of Douglas Huebler,” Artforum, New York, vol. 44, no. 8, April 2006, p. 220–227.

“Positions dans l’espace vernaculaire: si vous viviez ici…,” Martha Rosler: sur/sous le pave, Universitaires de Rennes, Rennes 2006.

 

2005

“Mechanization Takes Command: Modernization, Terminable and Interminable,” Chris Williams, The Vancouver Art Gallery, Vancouver 2005, pp. 35-41.

“Project for a Nudist Colony: Some Literary, Philosophical and Political Fragments,” Fabrice Gygi, JRP|Ringier, Zurich 2005, pp. 127-133.

“Islam and World Politics: a View from the United States,” Plus Ultra: Jenseits der Moderne?, Revolver–Archiv für aktuelle Kunst, Frankfurt am Main 2005, pp. 34-35.

“The Original Synth: On Wendy Carlos and the Subversion of Sound,” Texte zur Kunst, Berlin, vol. 15, no. 60, December 2005, p. 88–93.

 

2004

“From Keyboard to Keypad,” Interview Ute Meta Bauer (UMB) mit Florian Hecker (FH), Wein, Juli 2003, Kunstsammlungen der Städtischen Museen Zwickau, Zwickau 2004, unpaginated.

“Arbeit Macht Spass?,” Jens Hoffman (ed.) The Next Documenta Should Be Curated by an Artist, eFlux, New York and Revolver–Archiv für aktuelle Kunst, Frankfurt am Main 2004, pp. 58-61.

“Lines in the Sand,” Joan Jonas: Five Works, Queens Museum of Art, New York 2004, pp. 123-126.

“Going Apeshit: Toward a Psychology of Meta-Criticism,” Nicolás Guagnini (ed.), The Seven Reviews of Monkeys and Shit, Union Guacha Production, New York 2004, unpaginated.

 

2003

“AIDS (1987),” General Idea: editions 1967–1995, Blackwood Gallery, University of Toronto at Mississauga, Erindale College, Toronto 2003, pp. 289-291.

“Act Naturally” Spring Journal, No. 3,  Los Angeles,  2003, p. 10.

 

2002

“A Trailer for the Future / Ein Trailer für die Zukunft,” Jack Goldstein: Films, Records, Performances and Aphorisms, 1971–1984, Daniel Buchholz and Christopher Müller (eds.), Verlag der Buchhandlung Walter König, Cologne 2002, pp. 6-13 (Engl.) and pp. 14-21 (German).

“Go For It!,” Texte zur Kunst, Berlin, vol. 12, no. 46, June 2002, pp. 160-169, republished in Andrea Fraser: Official Welcome, Belkin Gallery, University of British Columbia, Vancouver 2002, pp. 37-48.

 

2001

“Now Even the Pigs’re Groovin’,” Dan Graham: Works, 1965–2000, Richter Verlag, Düsseldorf 2001, pp. 356-374; republished in Vincent Pécoil (ed.), Prières américaines, Dijon: Les presses du réel, Dijon 2002, p. 17-61.

“Mustan laatikon sisällä: Kohti tulevaisuuden alempaa astetta / Inside the Black Box: Toward a Lower State of Futurity,” Eva Grubinger: operation R.O.S.A.,Kiasma Museum of Contemporary Art, Helsinki 2001, pp. 4-16 (both languages).

“No More Boring Art,” Kunst/Kino: Jahresring 48, Oktagon Verlag, Cologne 2001, pp. 69-78.

“Der Tänzer, nicht der Tanz  /The Dancer, Not the Dance,” Wiederaufnahme, Revolver–Archiv für aktuelle Kunst, Frankfurt am Main 2001, pp. 46-55 (German) and 55-61 (Engl.).

 

2000

“The Human Cavity / Die Höhle der Menschen,” Couch, Christoph Merian Verlag, Basel 2000, pp. 98-109.; republished in KW Magazine, Berlin, February 2001, p. 94–99.

“Burn, Baby, Burn! Mike Smith parle de disco, d’assurance vie… et de video / Burn, Baby, Burn!: Mike Smith Talks About Disco, Life Insurance and. . . Videotape,” Mike Smith, Le Magasin, Grenoble 2000, pp. 9-15 (French) and 21-32 (Engl.).

“Alles und Mehr,” All You Can Eat, Galerie für Zeitgenössische Kunst, Leipzig 2000, unpaginated.

“Frieds Neffen: Gameshows im Zeichen des Minimalismus,” Texte zur Kunst, Berlin, vol. 10, no. 39, September 2000, p. 40–47.

“Something From Nothing,” Xavier Veilhan, Le Magasin, Grenoble 2000, pp. 51-55

“The Use Value of Rock,” Liner notes for For Those About to Rock, vinyl record, Revolver Editions, Frankfurt am Main 2000.

“Mary Lucier,” Mary Lucier, The John Hopkins University Press, Baltimore / London 2000, pp. 153-154.

“Statement: Whose Freedom?,” NICC Newsletter 8, Antwerp,October–December 2000, p. 58–60.

 

1999

“Visions of Alternativity,” Lionel Bovier and Christophe Cherix (eds.), Les espaces indépendents, A.I.C.A. (Section Suisse), JRP Éditions, Geneva, p. 55–66.

“Lebende Legende. Ein Interview mit John Sinclair von John Miller und Frank Lutz,” Texte zur Kunst, Berlin, vol. 9, no. 33, March 1999, p. 106–115; republished in Monica Bonvicini/Sam Durant: Break It/Fix It, Secession, Vienna, 2003, pp. 60-65.

“Entropie und Immobilien,” Texte zur Kunst, Berlin, vol. 9, no. 33, March 1999, p. 49–52.

“Hard Hats, Cold Facts,” What does your wife/girlfriend think of your rough and dry hands?, SITE Santa Fe, Sante Fe 1999, unpaginated.

“Acting Out,” Liner notes for Blood on the Honky Tonk Floor: Gone Gone Gone, audio CD, naiv hören+sehen, Stuttgart 1999.

 

1998

“Heil Hitler! Have a Nice Day! Die neue Politik des Hasses in den U.S.A.,” Marius Babias and Achim Könneke (eds.), Die Kunst des Öffentlichen,Verlag der Kunst, Dresden 1998, p. 186–229; excerpted in Jungle World, Berlin, no. 5, January 29, 1998, p. 15–18.

“Die therapeutische Institution oder Die Gnade der Präsenz,” Secession: das Jahrhundert der Künsterlischen Freiheit, Prestel Verlag, Munich, p. 17–28.

“Playing the Game,” a/drift, Center for Curatorial Studies, Bard College, Annandale-on-Hudson 1998, p. 93–95; republished as “Das Spiel spielen: Was machen Sie sonntags um zwanzig vor sieben?,” Subtropen/Jungle World, Berlin, no. 32, August 1, 2001, p. 7.

 

1997

“The Possibility of Knowing,” Origin and Destination, Palais des Beaux-Arts, Bruxelles 1997, p. 176–177.

 

1996

“Paradise Lost,” Jane Dickson: Paradise Alley, The Whitney Museum of American Art at Philip Morris, New York 1996, p. 1–9.

\“Be Here Now: the Image of History,” Face à l’Histoire, Centre Georges Pompidou, Paris 1996, p. 514–519.

“The Procrustean (Water) Bed: The Definition of Popular Culture in Pierre Bourdieu’s Distinction,” and “Bourdieu, High and Popular Culture: a Debate Between John Miller and Students of Cultural Studies,” Beatrice von Bismarck, Diethelm Stoller and Ulf Wuggenig (eds.), Games Fights Collaborations: Das Spiel von Grenze und Überschreitung, Kunstraum der Universität Lüneburg, Lüneburg and Cantz Verlag, Stuttgart 1996, p. 23–35 (German), p. 162–172 (English).

“Day by Day / Tag für Tag,” Maria Eichorn: Arbeit/Freizeit, Generali Foundation, Vienna 1996, p. 123–133 (German), p. 135–143 (English).

“Transforming the Esthetic Field: the Cold War is Over (If You Want It),” Macao Museum of Contemporary Art, Macao 1996.

“I Want to be a (Desiring) Machine,” Kritik, Munich, no. 2, p. 67–71.

“Panel Discussion,” Tamara S. Evans (ed.), Robert Walser and the Visual Arts, with Caron Kuoni, Daniel Faust, Eilen Myles, Joan Nelson, Hans Ulrich Obrist, The Graduate School and University Center, The University of New York, New York 1996, p. 53–62.

“God’s Country,” Film 3, MAK Galerie, Vienna 1996, p. 5 (English), p. 6–7 (German); republished as “Postwar Prehistory,” Transatlantik Echoes, Kunstbüro, Museum für Literatur am Oberrhein, Karlsruhe 1997, p. 27–34 (English), p. 37–46 (German); republished in an untitled, unpaginated catalog for Romanian pavillion, 51st Venice Biennale.

 

1995

“Den Untergrund begraben,” Marius Babias (ed.), Im Zentrum der Peripherie: Kunstvermittlung und Vermittlungskunst in den 90er Jahren, Verlag der Kunst, Dresden 1995, p. 104–147; excerpted in Jungle World, Berlin, no. 5, January 29, 1988, p. 15–18.

“Das pädagogische Modell oder die Steigerung der Scham durch ihre Veröffentlichung,” Texte zur Kunst, Berlin, vol. 5, no. 18, p. 41–49; republished as “The Pedagogical Model: To Make Shame More Shameful Still by Making It Public,” Stephan Dillemuth (ed.), Akademie, Permanent Press Verlag, Munich 1995, 306-316.  “Dada By the Numbers,” October, MIT Press, Cambridge, no. 74, fall 1995, p. 123–128.

“Suture und Bildtheorie/Suture and Picture Theory,” Suture – Phantasmen der Vollkommenheit / Suture – Phantasies of Totality (Kolloquiumsakten), Salzburger Kunstverein, Salzburg, p. 25–31 (English and German).

“Art as Discourse,” Sprechen über Kunst, audio CD, Oktagon Verlag, Stuttgart 1995.

“The Perverse Gesture,” Aura Rosenberg: Head Shots, Stop Over Press, Reykavik/New York, unpaginated.

 

1994

“Jason Rhoades,” Artforum, New York, vol. 33, no. 5, January 1994, p. 86.

“Conflict of Interest,” Acme Journal, New York, vol. 1, no. 3, 1994, p. 72–75.

“Clubs for America,” The Use of Pleasure, Terrain Gallery, San Francisco 1994, p. 28–30.

“Too Young to be a Hippy, Too Old to be a Punk. (Discussion with Mike Kelley),” Be Magazin, Künstlerhaus Bethanien, Berlin, vol. 1, no. 1, 1994, p. 119–123 (English), p. 124–129 (German); excerpts republished as

“Marcuse für Teenager,” Die Tageszeitung, Berlin, May 27, 1994, p. 15 and as “Mike Kelley: Die Depolitisierung der Hippiekultur trug zu ihrer Mystifizierung bei,” Kunstforum International, Ruppichteroth, vol. 134, May–September 1996, p. 199–205.

“Bob Flanagan: The Kitchen,” Texte zur Kunst, Cologne, vol. 4, no. 13, März 1994, p. 99–101.

“AutofensterSkulpturen,” Piotr Nathan: Ausschnitte-Cuttings, GAK–Gesellschaft für Aktuelle Kunst, Bremen and Hatje Cantz Verlag, Ostfildern, p. 53–60.

“Eine Antwort auf Hal Foster,” Gewalt/Geschafte, NGBK–Neue Gesellschaft für Bildende Kunst, Berlin 1996, p. 94–96.

 

1993

“The Body as Fetish: an Open Letter to My WouldBe Compatriots,” Aperto ’93. Emergency/Emergenza, XLV Biennale di Venezia, Giancarlo Politi Editore, Milan 1993, p. 77–78 (English), p. 179–180 (Italian).

“The Poet as Janitor,” Mike Kelley, The Whitney Museum of American Art, New York 1993, p. 149–150.

“Selbst-Kritik. Wind from the East,” Open Air, Andreas Wegner/Galerie Gruppe Grün, Bremen, 1993, p. 12–13.

“The Fig Leaf Was Brown,” The Art Journal, New York, vol. 52, no. 3, Fall 1993, p. 76–78; republished in Cloaca Maxima, Hatje Cantz Verlag, Ostfildern 1994, p. 207–223 (English and German).

“Relative Autonomy and the Esthetic Field,”Neil Cummings (ed.), Reading Things, vol. 3, Chance Books, London 1993, pp. 159-174.

“Why Don’t We Do It in the Road? Vito Acconci’s Public Sculpture / Why Don’t We Do It in the Road? Vito Acconci’s Öffentliche Skulpturen,” Meta, Künstlerhaus Stuttgart, Stuttgart 1993, no. 4, p. 35–49 (English and German).

 

1992

“The Death of Tragedy,” Nachschub. The Köln Show, Spex–Verlagsgesellschaft, Cologne 1992, p. 60–61 (English), p. 146–147 (German).

“Mike Kelley (Interview),” Mike Kelley, A.R.T. Press, Los Angeles 1992, p. 7–51; excerpted in Bomb, New York, no. 38, Winter 1992 p. 26–31; republished in Between Artists: Twelve Contemporary Artists Interview Twelve Contemporary Artists, A.R.T. Press, Los Angeles 1996, p. 103–130.

“When Activism Becomes Quietism,” Acme Journal, New York, vol. 1, Spring 1992, p. 51–52.

“Die Deutschen mühen sich ab,” Zitty, Berlin, vol. 16, no. 8, April 2-15, 1992, p. 218–220.

“The Avant-Garde, Sublimation and the Patriarchy,” The Lectures 1991, Witte de With–Center for contemporary Art, Rotterdam; republished in Osso Bucco, Geneva, no. 3, January–March 2006, unpaginated.

“Esthetics from Acorns,” Dirty Data, Ludwig Forum für internationale Kunst, Aachen 1992, p. 71–74.

“A Round Table on Criticism: Criticism and Use Value,” M/E/A/N/I/N/G, New York, no. 11, May 1992, p. 25–26.

“Curating and Materialism,” Meta, no. 2, Künstlerhaus Stuttgart, Stuttgart 1992, p. 14–16 (German and English).

“Disappearing into the Woodwork,” Gemischtes Doppel / Mixed double, Generali Foundation and Wiener Secession, Vienna 1992, p. 60–62 (English), p. 63–66 (German).

 “The Show You Love to Hate: a Psychology of the MegaExhibition,” Autoren von Texte zur Kunst halten Reden u.a. auf der Documenta IX, Texte zur Kunst, Cologne, 1992, pp. 4-7 republished in Reesa Greenberg, Bruce Ferguson, Sany Nairne (eds.), Thinking About Exhibitions, Routledge, New York 1996, p. 269–274; republished in Christoph Tannert and Ute Tischler (eds.), MIB – Men in Black: Handbook of Curatorial Practice, Künstlerhaus Bethanien, Berlin and Revolver–Archiv für aktuelle Kunst, Frankfurt am Main 2004, pp. 15-17; republished as “Razstava, ki jo z veseljem sovrazite,” Dialogi, Maribor, Slovenia, May–June 2007, p. 82–84.

“Kitsch,” Guggenheim Museum: A to Z, Guggenheim Museum, New York 1992, p. 128.

“Evolutionary Theory and Ideology,” Klaus Baumgartner, Carsten Höller and Albrect Schmiere (eds.), Amokkoma, vol. 1, no. 1, NONNOM PRESS, Kiel 1992, p. 28 (German), p. 29 (English).

 

1991

“John Miller in Berlin,” Texte zur Kunst, Cologne, vol. 1, no. 4, p. 168; republished as “Dreaming is Almost Free: Audiocassettes at Bilka,”   Parcours Europeen III: L’Allemagne, Musée d’Art Moderne de la Ville de Paris, Paris 1992.

 “Formalism and Its Other,” Jessica Stockholder, Witte de With–Center for contemporary Art, Rotterdam and The Renaissance Society, Chicago 1991, p. 32–41.

“The Body as Site,” Flash Art, Milan, vol. 24, no. 161, November–Dezember 1991, p. 98–99.

 

1990

“The Weather is Here; Wish You Were Beautiful: the Persistence of Dandyism,” Artforum, New York, vol. 28, no. 9, May 1990, p. 152–159.

“Art Supplies and Utopia,” Ralph Wernicke (ed.), Art Supplies and Utopia, Galerie Ralph Wernicke, Stuttgart 1990, p. 21.

 

1989

“The Art of Noise,” Artscribe International, London, no. 73, January–February 1989, p. 92–96.

“Lecture Theatre: Peter Halley’s ‘Geometry and the Social’,” Artscribe International, London, no. 74, March–April 1989, p. 64–65.

“The Greenberg Effect,” Arts Magazin, New York, no. 64, December 1989, p. 61.

“El corte más profundo: Notas sobre la técnica de John Baldessari,” Ni por ésas / Not Even So, Centro de Arte Reina Sofia, Madrid, CAPC–Musée d’Art contemporain de Bordeaux, Bordeaux, IVAM–Institut Valencià d’Art Modern, Valence and Ministerio de Cultura, Madrid 1989, p. 53–59; reprinted as “The Deepest Cut: Montage in the Work of John Baldessari,” Artscribe International, London, no. 75, May 1989, p. 52–56; and as “Sans Transition: le montage dans l’œuvre de John Baldessari,” John Baldessari, From Life, Carré d’art Ensba, Nîmes 2005, unpaginated. This catalog came out after the Magasin show.

 

1988

“The Consumption of Everyday Life,” Artscribe International, London, no. 67, January–February 1988, p. 46–52; republished as “La Consommation de la vie quotidienne” with “Le Prix des Mots,” (interview with Haim Steinbach), Haim Steinbach, CAPC–Musée d’Art contemporain de Bordeaux, Bordeaux 1989, p. 43–45.

“A Poetics of Imperfection. Interview with David Shapiro,” Artscribe International, London, no. 70, Summer 1988, p. 54–59.

“Here, There and Everywhere,” New Observations, New York, no. 63, December 1988, p. 19.

“Please Pass the Orb,” CalArts: Skeptical Belief(s), The Renaissance Society, Chicago and Newport Art Museum, Newport Beach 1988, p. 10–11.

“The Mnemonic Book: Ed Ruscha’s Fugitive Publications / Das mnemonische Buch: Ed Ruschas vergängliche Publikationen,” Parkett, Zürich/New York 1988, no. 18, p. 66–71 (English), p. 74–79 (German).

“The Mortification of the Sign: Mike Kelley’s felt banners,” Mike Kelley, The Renaissance Society, Chicago 1988, p. 16–23.

 

1987

“What You Don’t See is What You Get: Allan McCollum’s Surrogates, Perpetual Photos and Perfect Vehicles,” Artscribe International, London, no. 61, January–February 1987, p. 32–36.

“In the Beginning There Was Formica,” Artscribe International, London, no. 62, March–April 1987, p. 36–42; republished in abridged form in Lusitania,New York, no. 17, 1987, p. 28–30 (English and Korean).

“Baudrillard and His Discontents,” Artscribe International, London, no. 63, May 1987, p. 49–51.

“Jacques Lacan’s ‘Television’,” Artscribe International, London, no. 66, November–December 1987, p. 40–41.

“Swiss Family Robbins,” Real Life Magazine, New York, no. 16, 1987, p. 10–11; republished in Real Life Magazine: Selected Writings and Projects, 1979-1994, Miriam Katzeff, Thomas Lawson and Susan Morgan, eds., Primary Information, New York, 2006, pp. 244-245.

 

1985

“Debby Davis,” East Village Eye, New York, March 1985, p. 33.

“The Commodity as a Country Music Theme,” LAICA Journal, Los Angeles Institute of Contemporary Art, Los Angeles, vol. 5, no. 41, Spring 1985, p. 26–30; republished in German “Die Ware als Thema in der Country Music,” Shattenlinien, Institut für Heuristik, Berlin, no. 8–9, 1985, p. 73–80.

“One MO Time,” East Village Eye, New York, May 1985, p. 37.

“Producer as Consumer,” East Village Eye, New York, November 1985.

 

1984

“Morality and the Poetic,” Real Life Magazine, New York, no. 13, Fall 1984, p. 15–17; republished in Real Life Magazine: Selected Writings and Projects, 1979-1994, Miriam Katzeff, Thomas Lawson and Susan Morgan, eds., Primary Information, New York, 2006, pp. 175-177.

 

1982

“Autopsy,” Dan Walworth and John Miller (eds.), Cave Canem, Cave Canem Books, New York 1982, p. 95–117.

 

1977

“Review: Painting Dept. Show,” RISD Press, Providence, vol. 3, no. 6, February 25, 1977, p. 9–10.

“Taste,” RISD Press, Providence, vol. 3, no. 11, April 4, 1977, p. 9–10.

“Contradictions in the Politics of Art,” with Dan Walworth, Citiart News, Providence, vol. 1, no. 3, July 1977, p. 5, 8.

“Drawings That Question Diagrams,” RISD Press, Providence, vol. 4, no. 11, December 2, 1977, p. 5–6.