Born in Seattle, WA, 1961
Education
MFA, California Institute of the Arts, Valencia, CA
BFA, Massachusetts College of Art, Boston, MA
Lives and works in Berlin, Germany
One-Person Exhibitions
2024
Nonaligned Echoes, Gifts and Returns, Museum of Contemporary Art Montenegro, Podgorica, Montenegro
2022
L21, Mallorca, Spain
2021
Iconoclasm, The Common Guild, Glasgow, Scotland
Untitled (drone), High Line Plinth, New York, NY
Proposal for Nonaligned Monuments, Free Movement, CC Strombeek, Grimbergen, Belgium
2020
Paula Cooper Gallery, New York, NY
Iconoclasm, Blum & Poe, Los Angeles, CA
2019
Iconoclasm, curated by Pedro Alonzo, Library Street Collective, Detroit, MI
2018
Paula Cooper Gallery, New York, NY
One Wall, One Work, Krakow Witkin Gallery, Boston, MA
2017
Build Therefore Your Own World, Blum & Poe, Los Angeles, CA
More Than ½ the World, Sadie Coles, London, UK
2016
The Meeting House, curated by Pedro Alonzo and presented by The Trustees, The Old Manse, Concord, MA
What #isamuseum?, UC Berkeley Art Museum and Pacific Film Archive, Berkeley, CA
Dreaming Mantas, Fundación Alumnos47, Mexico City, Mexico
2015
Praz-Delavallade, Brussels, Belgium
Borrowed Scenery, Blum & Poe, Tokyo, Japan
Proposal for White and Indian Dead Monument Transpositions, Washington, D.C., Mildred Lane Kemper Art Museum, Washington University, St. Louis, MO
2014
Invisible Surrealists, Paula Cooper Gallery, New York, NY
Proposal for White and Indian Dead Monument Transpositions, Washington, D.C., Los Angeles County Museum of Art, Los Angeles, CA
Pigs and Gold, The Archer School for Girls, Los Angeles, CA
2013
What #isamusuem, The Getty Center, Los Angeles, CA
Propaganda of the Deed, Database 2nd Edition, Centro Arti Plastiche, Carrara, Italy
Proposal for Public Fountain, Sadie Coles, London, UK
La stessa storia, Museo d’Arte Contemporanea Roma, Rome, Italy
Scaffold, Jupiter Artland, Edinburgh, UK
Scaffold, Stroom Den Haag, The Hague, Netherlands
2011
Propaganda of the Deed, Galleria Franco Soffiantino, Turin, Italy Laissez Faire et Laissez Passer, Le Monde Va De Lui Même, Blum & Poe, Los Angeles, CA
Mirror Travels in Neoliberalism, Praz-Delavallade, Paris, France
2010
Inquiring Eyes: Greensboro Collects Art, Weatherspoon Art Museum, Greensboro, NC
XIV International Sculpture Biennale of Carrara, Carrara, Italy
Larger than Life, Stranger than Fiction: 11th Fellbach Triennial of Small Scale Sculpture,
Fellbach, Germany
History Never Ends, I Hate to Bother You, Sadie Coles, London, UK
Dead Labor Day, Paula Cooper Gallery, New York, NY
2009
This is Freedom?, Blum & Poe, Los Angeles, CA
2008
Death Penalty, Praz-Delavallade, Paris, France
2007
Scenes from the Pilgrim Story: Myths, Massacres and Monuments, Blum & Poe, Los Angeles, CA (exh. cat.)
Scenes from the Pilgrim Story: Natural History, Catriona Jeffries Gallery, Vancouver, Canada
Echoplex, Paula Cooper Gallery, New York, NY
Sadie Coles, London, UK
2006
Scenes from the Pilgrim Story: Goodbye Merry Mount, Galleria Emi Fontana, Milan, Italy
Scenes from the Pilgrim Story: Myths, Massacres and Monuments, Massachusetts College of Art, Boston, MA (exh. cat.)
2005
Color Pictures, Catriona Jeffries Gallery, Vancouver, Canada
Presse Ne Pas Avaler, Praz-Delavallade, Paris, France
Proposal for White and Indian Dead Monuments Transposition, Washington D.C., Paula Cooper Gallery, New York, NY (exh. cat.)
2004
Edward Said, The Suburban, Oak Park, IL
Involved, Blum & Poe, Los Angeles, CA
12 Signs: transposed and illuminated (with various indexes), Stedelijk Museum voor Actuele Kunst, Ghent, Belgium (exh. cat.)
We Are All Outlaws in the Eyes of Amerika, Galleria Emi Fontana, Milan, Italy
2003
We Are the People, Project Row House, Houston, TX
Walker Art Center Garden Project, Artist-in-Residence, Walker Art Center, Minneapolis, MN
Union Projects, London, UK
Entropy in Reverse, Govett-Brewster Art Gallery, New Plymouth, New Zealand (exh. cat.)
The Wrong Gallery, New York, NY
Sam Durant, Kunstverein für die Rheinlande und Westfalen, Düsseldorf, Germany (exh. cat.)
2002
Institute of Visual Arts, University of Wisconsin, Milwaukee, WI
Sam Durant, Museum of Contemporary Art, Los Angeles, CA (exh. cat.)
Color Pictures, Blum & Poe, Santa Monica, CA
Sam Durant: 7 Signs; removed, cropped, enlarged and illuminated (plus index), Wadsworth
Atheneum Museum of Art, Hartford, CT
2001
Southern Tree, Tree of Knowledge, Dead Tree (part one), Galleria Emi Fontana, Milan, Italy
Consciousness Raising Historical Analysis, Pain plus Time Separated and Ordered with Emphasis on Reflection, Kunsthof Zurich, Zurich, Switzerland
2000
Tomio Koyama Gallery, Tokyo, Japan
Proposal for Monument in Friendship Park, Jacksonville, FL, Blum & Poe, Santa Monica, CA
1999
Into the Black, Kapinos Galerie, Berlin, Germany
Altamont, Blum & Poe, Santa Monica, CA
1998
Ohio, (with Andrea Bowers), Dogenhaus Projekte/ Kapinos, Berlin, Germany
1997
California Displacement Project: You Project is What You Get, Curt Marcus Gallery, New York, NY
MDF, Particle Board, Projection, Confusion, Grid-Like Structuring, Blum & Poe, Santa Monica, CA
1995
Blum & Poe, Santa Monica, CA
Sam Durant, Roger Merians Gallery, New York, NY
1994
FOOD HOUSE, Santa Monica, CA
1992
Please Excuse Our Appearance..., Bliss Gallery, Pasadena, CA
Right Now, Richard Green Gallery, Santa Monica, CA
Group Exhibitions
2024
Ultimus Spectaculi, Praz-Delavallade, Paris, France
Tabula Rasa, Paula Cooper Gallery, New York, NY
2022
Enter the Mirror, Museum of Contemporary Art Chicago, Chicago, IL
Sign Systems, Unit London, London, UK
2021
Scratching the Surface, Die Balkone, Berlin, Germany
2020
5,471 miles, Blum & Poe, Los Angeles, CA
local talent, curated by Thomas Demand, Sprüth Magers, Berlin, Germany
Visionary New England, deCordova Sculpture Park and Museum, Lincoln, MA
Mythologies – The Beginning and End of Civilizations, ARoS, Aarhus, Denmark
In Focus: Statements, Copenhagen Contemporary, Copenhagen, Denmark
Semblance | Sunshine, curated by Joshua Hashemzadeh, Torrance Art Museum, Torrance, CA
Lost in America, curated by John Miller, Neuer Berliner Kunstverein, Berlin, Germany
Studio Berlin, in collaboration with Boros Foundation, Berghain, Berlin, Germany
This Is America | Art USA Today, Kunsthal KAde, Amersfoort, Netherlands
Art Encounters: Community or Chaos, Cornell Fine Arts Museum, Rollins College, Winter Park, CO
2019
Sculpture Milwaukee, Milwaukee, WI
Forgetting, Historisches Museum Frankfurt/Main, Frankfurt, Germany
Political Affairs – Language Is Not Innocet, curated by Monica Bonvicini and Bettina Steinbrügge, Kunstverein, Hamburg, Germany
Non-Vicious Circle, Paula Cooper Gallery, New York, NY
LE MAGASIN, Praz-Delavallade, Los Angeles, CA
2018
Poder (2018), 50 State Initiative, organized by For Freedoms, Cass & Amsterdam NW, Detroit, MI Power to the People: Political Art Now, Schirn Kunsthalle, Frankfurt, Germany
Break in Transmission, Holden Gallery, Manchester, UK
Orientation, Jack Shainman Gallery, New York, NY
In Thrill of Deception: From Ancient Illusionistic Art to Virtual Reality, Kunsthalle München, Munich, Germany
Mad World, Marciano Art Foundation, Los Angeles, CA
Coping Mechanisms, Library Street Collective, Detroit, MI
Give a damn., curated by Rebecca McNamara, Tang Museum at Skidmore College, Saratoga Springs, NY
Museum of Broken Windows, New York Civil Liberties Union, New York, NY
The Street. Where the World is Made, Museo Nazionale Delle Arti Del XXI Secolo, Rome, Italy
The Radical Imaginary Institute Biennial, Jack Shainman Gallery, New York, NY
On longing and consolation, Kunstenfestival Watou, Watou, Belgium
Expocision Inaugural, Museo de Arte Contemporaneo de Queretaro, Santiago de Queretaro, Mexico
26 on 3rd, Long Beach Museum of Art, Long Beach, CA
2017
We need to talk…, Petzel Gallery, New York, NY
I LOVE L.A., Praz-Delavallade, Los Angeles, CA
Last Tango, Zurich, Switzerland
Yokohoma Triennale 2017: Islands, Constellations & Galapagos, Yokohama, Japan
Hand-Painted Pop! Art and Appropriation, 1961 to Now, Wadsworth Atheneum Museum of Art,
Hartford, CT
Artists Need to Create on the Same Scale That Society Has the Capacity to Destroy, Part I, curated by Phong Bui & Brooklyn Rail Curatorial Projects, Mana Contemporary, Jersey City, NJ
Mirror, Mirror, Wadsworth Atheneum Museum of Art, Hartford, CT
The Time. The Place. Contemporary Art from the Collection, Henry Art Gallery, University of Washington, Seattle, WA
2016
The Natural Order of Things, curated by Julieta González, José Esparza, and Ixel Rion, Museo Jumex, Mexico City, Mexico Parcours Art Basel, Basel, Switzerland
Domaine du Muy, Le Muy (Var), France
Cause the Grass Don’t Grow and the Sky Ain’t Blue, Praz-Delavallade, Paris, France
Good Dreams, Bad Dreams - American Mythologies, Aïshti Foundation, Beirut, Istanbul
Southern Accent: Seeking the American South in Contemporary Art, Nasher Museum of Art at Duke University, Durham, NC; travels to Speed Art Museum, Louisville, KY
Do You, Ms. Jones?, Rosenwald-Wolf Gallery, The University of the Arts, Philadelphia, PA
L.A. Exuberance: New Gifts by Artists, Los Angeles County Museum of Art, Los Angeles, CA
All Power to the People: Black Panthers at 50, Oakland Museum of California, Oakland, CA
Don’t Look Back: The 1990s at MOCA, The Geffen Contemporary at MOCA, Los Angeles, CA
2015
Three Day Weekend: Business in Front b/w Blue White Red, Blum & Poe, Los Angeles, CA
Spomenici revolucije, with Marko Lulic, Mackey Garage, MAK Center for Art and Architecture, Los Angeles, CA
America is Hard to See, Whitney Museum of American Art, New York, NY
Dissolving Margins, Paula Cooper Gallery, New York, NY
When Artists Speak the Truth, The 8th Floor, New York, NY
Open Source: Engaging Audiences in Public Space, City of Philadelphia Mural Arts Program, Philadelphia, PA
A Voice Remains, Pippy Houldsworth Gallery, London, UK
Station to Station, Barbican Centre, London, UK
In the Lee of the In-Between, Kunstenfestival Watou, Watou, Belgium
Chapter 2: Collecting Lines, Drawings from the Ringier Collection, Villa Flora, Winterthur, Switzerland
2014
A Perpetual Journey, Parse Gallery, New Orleans, LA
Passions secrètes, Le Tripostal, Lille, France
Da Cartografia do Poder aos Itinerários do Saber, Museu Afro Brasil, São Paolo, Brazil
Illustrating Anarchy and Revolution, Mexic-Arte Museum, Austin, TX
Border Cultures: Part Two (work, labour), Art Gallery of Windsor, Ontario, Canada
Mound City, Laumeier Sculpture Park, St. Louis, MO
Selections from the Collection of Black Byrne, Patrick Painter, Santa Monica, CA
The Classic in Art, Fundación Proa, Buenos Aires, Argentina
Liverpool Biennial, Tate Liverpool, Liverpool, UK
IK-00. The Spaces of Confinement, Casa dei Tre Oci, Venice, Italy
Lustwarande ’14 – Rapture & Pain, Tilburg, Netherlands
2013
Jonathan Borofsky, Sam Durant, Charles Gaines, Liz Glynn, Wayne Gonzales, Hans Haacke, Walid Raad, Andres Serrano, Paula Cooper, New York, NY
Beer Show, Green Gallery, Milwaukee, WI
Damage Control: Art and Destruction Since 1950, Hirshhorn Museum and Sculpture Garden, Washington D.C.; traveled to Mudam Luxembourg, Luxembourg, France, and Universalmuseum
Joanneum / Kunsthaus Graz, Graz, Austria
The Hunter and the Factory, Fundación/Colección Jumex, Mexico City, Mexico
Turn off the Sun: Selections from la Colección Jumex, Arizona State University Art Museum, Tempe, AZ
Farbe Bekennen (Showing Its Colors), MARTa Herford Museum, Herford, Germany
See You In The Hague, Stroom Den Haag and various other locations in The Hague, Netherlands
Station to Station, public art project organized by Doug Aitken, Train traveled from New York to San Francisco
Give Piece A Chance, Le Grand Café - Centre d'Art Contemporain, Saint Nazaire, France
The Wall, curated by Benjamin Bianciotto, Galerie Olivier Robert, Paris, France
Merci Mercy, 980 Madison Gallery, New York, NY
In the Good Name of the Company, curated by Jan Tumlir, For Your Art, Los Angeles, CA
Subterranea, curated by Melinda Guillen and Elizabeth D. Miller, Visual Arts Gallery, Structural &
Material Engineering Building, University of California, San Diego, CA
The Present Order is the Disorder of the Future, Museum Kurhaus Kleve, Cleves, Germany
2012
Eight Sculptors 2012, Paula Cooper, New York, NY
Only Parts of Us Will Ever Touch Parts of Others, curated by Timothée Chaillou, Galerie Thaddaeus Ropac, Paris, France
dOCUMENTA (13), curated by Carolyn Christov-Bakargiev, Karlsaue Park, Kassel, Germany
Sweethearts: Artist Couples, Pippy Houldsworth Gallery, London, UK Collage, Galerie Thaddaeus Ropac, Paris, France Shake and Bake, curated by Hard Hat, Praz-Delavallade, Paris, France The Living Years: Art after 1989, curated by Siri Engberg and Clara Kim, Walker Art Center, Minneapolis, MN Da Cartografia do Poder aos Itineráros do Saber, National Museum of Brasilia, Rio de Janeiro, Brazil
Spelling the Image, Mark Jancou Contemporary, New York, NY
Prospect 2012, Museum of Contemporary Art San Diego, San Diego, CA
Animal Spirits, DESTE Foundation Project Space, Slaughterhouse, Hydra, Greece
ROOTS. Memory, identity and change in the art of today, curated by Eugenio Viola, Malvina Menegaz Foundation for Arts and Culture, Castelbasso, Italy
Stem Terug! Vote Back!, curated by Huib Haye van der Werf, De Appel Arts Centre, Amsterdam, Netherlands
Your History is Our History, Praz-Delavallade, Paris, France
2011
Da Cartografia do Poder aos Itinerários do Saber, Science Museum of the University of Coimbra, Coimbra, Portugal
Mass Distraction & Cultural Decay, Mason Gross Galleries, Rutgers University, New Brunswick, NJ
I Am Still Alive: Politics and Everyday Life in Contemporary Drawing, Museum of Modern Art, New York, NY
The Walls That Divide Us, curated by Miguel Amado, apexart, New York, NY
The Air We Breathe, curated by Apsara DiQuinzio, San Francisco Museum of Modern Art, San Francisco, CA
Nuit Blanche, Toronto, Canada
Incidentes de viaje espejo en Yucatán y otros lugares (Incidents of Travel Mirroring the Yucatan and Elsewhere), Museo Tamayo, Mexico City, Mexico
The Object of Observation (Changes by Being Observed), Johnen Galerie, Berlin, Germany
The Workers, Massachusetts Museum of Contemporary Art, North Adams, MA
Agitated Histories, Contemporary Museum, Baltimore, MD; traveled to SITE Santa Fe, Santa Fe, NM The Artist’s Museum, Museum of Contemporary Art, Los Angeles, CA
Inquiring Eyes: Greensboro Collects Art, Weatherspoon Art Museum, Greensboro, NC
The Workers: Contemporary Representations of Labor, Massachusetts Museum of
Contemporary Art, North Adams, MA
The Narcissism of Minor Differences, Maryland Institute College of Art, Baltimore, MD
To the Arts, Citizens!, Serralves Museu, Porto, Portugal
The Smithson Effect, Utah Museum of Fine Arts, Salt Lake City, UT
Locations, Paula Cooper Gallery, New York, NY
Keeping it Real: Act 4, Material Intelligence, Whitechapel Gallery, London, UK
Drawing from Photography, The Drawing Center, New York, NY
Stargazers, Elizabeth Catlett in Conversation with 21 Contemporary Artists, Bronx Museum, Bronx, NY
2010
The Narcissism of Minor Differences, curated by Christopher Whittey and Gerald Ross, Maryland Institute College of Art, Baltimore, MD
To the Arts, Citizens!, curated by Isabel Braga and Óscar Faria, Serralves Museu, Porto, Portugal
The Artist’s Museum: Los Angeles, Artists 1980-2010, Museum of Contemporary Art, Los Angeles, CA
Repetition island, Centre Pompidou, Paris, France
Elizabeth Catlett: Call and Response, curated by Isolde Brielmaier, The Bronx Museum of the Arts, Bronx, NY
Shut Your Eyes in Order to See, Praz Delavallade, Paris, France
Sculpture Center Lucky Draw 2010, Sculpture Center, Long Island City, NY
The Artist’s Museum: L.A. Artists 1980-2010, Museum of Contemporary Art, Los Angeles, CA
Inquiring Eyes: Greensboro Collects Art, Weatherspoon Art Museum, Greensboro, NC
Contemplating the Void, curated by Nancy Spector, Guggenheim Museum, New York, NY
First Nations / Second Nature, curated by Candice Hopkins, Audain Gallery, Simon Fraser
University, Vancouver, Canada
Kurt, Seattle Art Museum, Seattle, WA
XIV International Sculpture Biennale of Carrara, Carrara, Italy
Larger than Life, Stranger than Fiction: 11th Fellbach Triennial of Small Scale Sculpture, Fellbach, Germany
Photography, Paula Cooper Gallery, New York, NY
Earthworks: Robert Smithson, Sam Durant, and Mary Brogger, Museum of Contemporary Art, Chicago, IL
2009
Cocktail by Cocktail, Kaléidoscope, Fribourg, Switzerland
Second Nature: The Valentine-Adelson Collection, UCLA Hammer Museum, Los Angeles, CA
Collection: MOCA’s First 30 Years, Museum of Contemporary Art, Los Angeles, CA
Inaugural Group Exhibition, Blum & Poe, Los Angeles, CA
Commentary, Paula Cooper Gallery, New York, NY
1999, China Art Objects, Los Angeles, CA
Loaded, Catriona Jeffries Gallery, Vancouver, Canada
Destroy Design, curated by Hilde Teerlinck, FRAC Nord-Pas de Calais, Dunkerque, France (exh.
cat.)
Regift, Swiss Institute Contemporary Art, New York, NY
Rock – Paper – Scissors, Pop Music as a Material for Visual Art, Kunsthaus Graz, Graz, Austria
The Old, Weird America, curated by Toby Kamps, deCordova Museum and Sculpture Park, Lincoln, MA; traveled to Frye Art Museum, Seattle, WA (exh. cat.)
2008
Selective Knowledge, Institute for Contemporary Art and Thought, Athens, Greece
Zones of Conflict, Pratt Gallery, New York, NY
Ours: Democracy in the Age of Branding, organized by Parsons School of Design and the Vera List Center for Art and Politics, Sheila C. Johnson Design Center, New York, NY
Crossroads: Interfaces between rock and contemporary art, Domus Artium Museum / Center of Contemporary Art of Salamanca, Salamanca, Spain
California Biennial, Orange County Museum of Art, Newport Beach, CA
Index: Conceptualism in California from the Permanent Collection, Museum of Contemporary Art, Los Angeles, CA
Proyecto civico / Civic Project, Centro Cultural Tijuana, Tijuana, Mexico
8 Bienal de Arte de Panamá, 8th Panama Biennial, PanamaBiennale of Sydney, Sydney, Australia
Close Encounters, American University Museum, Katzen Arts Center, Washington, D.C.
Freedom, Stichting Den Haag Sculptuur, The Hague, Netherlands
Ohio, curated by Brad Killam and Barb Wiesen, Gahlberg Gallery, College of DuPage, Glen Ellyn, IL
Peripheral vision and collective body, Museum of Modern and Contemporary Art of Bozen, Bolzano, Italy
The Old, Weird America, Contemporary Arts Museum, Houston, TX
Since we last spoke about monuments, Stroom den Haag, The Hague, Netherlands
Jeremy Deller: Marlon Brando, Pocahontas, and Me, Aspen Art Museum, Aspen, Colorado (exh. cat)
The Art of the Real, Oud Vliegveld, Oostende, Belgium
2007
Been Up So Long It Looks Like Down To Me, Presentation House Gallery, Vancouver, Canada
Black Panther Rank and File, the Southeastern Center for Contemporary Art, Winston-Salem, NC, traveled to Maryland Institute College of Art, Baltimore, MD
Darling, take Fountain, Kalfayan Galleries, Athens, Greece
Demolition, Kerstin Engholm Engelhorn Galerie, Vienna, Austria
Memorial to the Iraq War, Institute of Contemporary Arts, London, UK (exh. cat.)
MOCA Benefit Auction, Los Angeles, CA
Modelers and Makers: Works in Ceramic, Gladstone Gallery, New York, NY Panic Room - Works from The Dakis Joannou Collection, Deste Foundation, Athens, Greece
Centre for Contemporary Art, Athens Greece
Past Over, Steve Turner Contemporary, Beverly Hills, CA
Resistance is...,Whitney Museum of American Art, New York, NY
Sculptors’ Drawings: Ideas, Studies, Sketches, Proposals, and More, Angles Gallery, Santa Monica, CA
Summer of Love: Art of the Psychedelic Era, Whitney Museum of American Art, New York, NY
Unmonumental, The New Museum, New York, NY
Words Fail Me, curated by Matthew Higgs, Museum of Contemporary Art Detroit, Detroit, Michigan
2006
Black Panther Rank and File, Yerba Buena Center for the Arts, San Francisco, CA
Busan Bienniale, Busan, Korea (exh. cat.)
Dark Places, Santa Monica Museum of Art, Santa Monica, CA
Draft Deceit, Kunstnernes Hus, Oslo, Norway
Drawing and Drawn, Cerritos College Art Gallery, Norwalk, CA
Fallout, Cold War Culture, Mitchell-Innes & Nash, New York, NY
Good Vibrations Le arti visive e il Rock, Palazzo delle Papesse, Siena, Italy
Monuments for the USA, White Columns, New York, NY (exh. cat.)
Street Signs and Solar Ovens: Socialcraft in Los Angeles, Craft and Folk Art Museum, Los Angeles, CA
2005
Artists’ Books Re-Visited, Printed Matter, New York, NY
Interstate, Nicole Klagsbrun, New York, NY
Likeness: Portraits of Artists by Other Artists, University Art Museum, California Sate University, Long Beach, CA (exh. cat.)
Touch of Evil, Estación Tijuana, Tijuana, Mexico
Think Blue, Blum & Poe, Los Angeles, CA
En/Of, Museum Kurhaus Kleve, Cleves, Germany (exh. cat.)
Post No Bills, White Columns, New York, NY
Faces in the Crowd -- Picturing Modern Life from Manet to Today, Museo d’Arte Contemporanea-Castello di Rivoli, Turin, Italy
Echo/Anti Echo, Galerie Barbara Thumm, Berlin, Germany
Getting Emotional, ICA Boston, Boston, MA (exh. cat.)
Moscow Biennale, former Lenin Museum, Moscow, Russia (exh. cat.)
Monuments for the USA, CCA Wattis Institute for Contemporary Art, Logan Galleries, San Francisco, CA (exh. cat.) Xiamen International Sculpture Exhibition, Xiamen, China
Outpost, Stephen D. Paine Gallery, Massachusetts College of Art, Boston, MA
War is Over 1945-2005 La Libertà dell'arte, Galleria d’Arte Moderna e Contemporanea, Bergamo, Italy (exh. cat.)
2004
Rear View Mirror, Kettle’s Yard, Cambridge, UK (exh. cat.)
Communaute, Institut d’Art Contemporain Villeurbanne, Lyon, France
Raume, Häusler Contemporary, Munich, Germany
100 Artists See God (2004-2006), organized and circulated by Independent Curators International, New York, NY; traveled to Contemporary Jewish Museum, San Francisco, CA; Laguna Art Museum, Laguna, CA; Institute of Contemporary Arts, London, UK; Contemporary Art Center of Virginia, Virginia Beach, VA; Albright College Freedman Art Gallery, Reading, PA; and Cheekwood Botanical Garden and Museum of Art, Nashville, TN
Playlist, Palais de Tokyo, Paris, France
Through the Gates: Brown vs. the Board of Education, California African American Museum, Los Angeles, CA (exh. cat.)
Baja to Vancouver, Museum of Contemporary Art, San Diego, CA (exh. cat.)
2004 Biennial Exhibition, Whitney Museum of American Art, New York, NY (exh. cat.)
The Space of Writing, Glassell School of Art | The Museum of Fine Arts, Houston, TX
Faces in the Crowd, Whitechapel, London, United Kingdom; traveled to Museo d’Arte Contemporanea-Castello di Rivoli, Turin, Italy
2003
Break it/Fix it, with Monica Bonvicini, Secession, Vienna, Austria (exh. cat.)
The Space of Writing, MKG Art Management, Houston, TX
Baja to Vancouver, Seattle Museum of Art, Seattle, WA (exh. cat.)
Blum & Poe, Los Angeles, CA
Dreams and Conflicts: The Viewer’s Dictatorship: Delays and Revolutions, The 50th International
Exhibition of Visual Arts of the Biennale di Venezia, Venice, Italy
Somewhere Better Than This Place: Alternative Social Experience in the Spaces of Contemporary Art, The Contemporary Arts Center, Cincinnati, OH (exh. cat.)
2002
Rent-a-bench, curated by Jacob Fabricius, Los Angeles, CA(exh. cat.)
A Country Lane: Sam Durant, Tobias Hauser, Richard Hoeck, John Miller, Kerstin Engholm
Galerie, Vienna, Austria
Air Guitar: Art Reconsidering Rock Music, curated by Emma Mahony, MK Gallery, Milton Keynes, UK; traveled to Cornerhouse, Manchester Angel Row, Nottingham/Tullie House, Carlise, UK)
From the Observatory, Paula Cooper Gallery, New York, NY (exh. cat.)
Artists Imagine Architecture, The Institute of Contemporary Art, Boston, MA (exh. cat.)
Out of Place: Contemporary Art and the Architectural Uncanny, The Museum of Contemporary Art, Chicago IL; traveled to Samuel P. Harn Museum of Art, University of Florida, Gainesville, FL (exh. cat.)
Prophets of Boom: Werke aus der Sammlung Schurmann, Kunsthalle Baden-Baden, Baden-Baden, Switzerland (exh. cat.)
Rock My World, California College of the Arts, San Francisco, CA (exh. cat.)
Concepts on Nature, Hausler Contemporary, Munich, Germany
The Lunatics Have Taken Over the Asylum, Works on Paper, Los Angeles, CA
2001
9th Biennial of Moving Images, Center for Contemporary Images, Saint-Gervais, Geneva, Switzerland (exh. cat.)
In Between: Art & Architecture, MAK Center for Art & Architecture, Los Angeles, CA(exh. cat.)
Playing Amongst the Ruins, Royal College of Art Galleries, London, UK (exh. cat.)
You Don’t Have to Have Cows to be a Cowboy, Galerie Parkhaus, Berlin, Germany
Superman in Bed, Kunst der Gegenwart und Fotografie Sammlung Schurmann, Museum am
Ostwall, Dortmund, Germany
New Settlements, Kunsthallen Nikolaj, Copenhagen, Denmark
Recent Acquisitions Featuring the Norton Gift, Berkeley Art Museum, Berkeley, CA
R. M. S., Pestorius Sweeney House, Brisbane, Australia
Record All-Over, Mamco, Geneva, Switzerland
Extra Art: A Survey of Artists’ Ephemera 1960-1999, California College of the Arts, San Francisco, CA (exh. cat.)
Take Two/Reprise, The Ottawa Art Gallery, Ottawa, Canada (exh. cat.)
Hemorrhaging of States, TENT, Rotterdam, Netherlands (exh. cat.)
2000
All Things, Everything True, CRG Gallery, New York, NY
ForwArt, L’Espace Cultural BBL, Brussels, Belgium (exh. cat.)
D, Sandra Gering Gallery, New York, NY
00: Drawings 2000, Gladstone Gallery, New York, NY (exh. cat.)
LAEX, Ileana Tounta, Athens, Greece
1999
What Your Children Should Know About Conceptualism, Neuer Aachener Kunstverein, Aachen, Germany (exh. cat.)
i me mine, Luckman Fine Arts Gallery, California State University, Los Angeles, CA
Matthew Antezzo, Sam Durant, Dave Muller, Blum & Poe, Santa Monica, CA
The Living Theatre, Salzburger Kunstverein, Salzburg, Austria (exh. cat.)
Other Narratives: Fifteen Years, Contemporary Arts Museum, Houston, TX (exh. cat.)
1999 COLA Exhibition, Los Angeles Municipal Art Gallery, Los Angeles, CA (exh. cat.)
Making History, Center for Curatorial Studies Museum, Bard College, Annandale-on-Hudson, New York, NY
The Perfect Life, Artifice in L.A.1999, Duke University Museum of Art, Durham, NC (exh. cat.)
Conceptual Art as Neurobiological Praxis, Thread Waxing Space, New York, NY
Proliferation, Museum of Contemporary Art, Los Angeles, CA
1998
Obviously 5 Believers, Action: Space, Los Angeles, CA
L.A. or Lilliput?, Long Beach Museum of Art, Long Beach, CA (exh. cat.)
Angels Gate 8.16.98 dusk, Angels Gate Cultural Center, San Pedro, CA
Summary, Galerie Hoffman & Senn, Vienna, Austria
Fantastic Matter of Fact: L.A. On Paper 2, Galerie Krinzinger, Wien, Austria
Trash, Los Angeles Municipal Art Gallery, Los Angeles, CA
Slipstream, Center for Contemporary Art, Glasgow, Scotland
Urban Romantics, Lombard Freid, New York, NY
Entropy at Home, Ludwig Museum, Aachen, Germany (exh. cat.)
Architecture & Inside, Paul Morris Gallery, New York, NY
Family Viewing, Museum of Contemporary Art, Los Angeles, CA
1997
Chill, University of California Irvine, The Art Gallery, Irvine, CA
Sam Durant & Anne Walsh, Four Walls, San Francisco, CA
Quartzose: 20 Los Angeles Artists, Galleri Tommy Lund, Odense, Denmark
Blind Date, Ellen Birrell Studio, Los Angeles, CA
Scene of the Crime, Armand Hammer Museum of Art, Los Angeles, CA (exh. cat.)
Her Eyes Are a Blue Million Miles, Three Day Weekend, Malmø, Sweden; traveled to Jason &
Rhodes, London, UK and Three Day Weekend, Los Angeles, CA
Summer of Love, Fotouhi Cramer Gallery, New York, NY
Places that are elsewhere, David Zwirner, New York, NY
Next, Blum & Poe, Santa Monica, CA
Elusive Paradise: Los Angeles Art From the Permanent Collection, Museum of Contemporary Art, Los Angeles, CA
1996
TRUE.BLISS., Los Angeles Contemporary Exhibitions, Los Angeles, CA (exh. cat.)
The Power of Suggestion: Narrative and Notation in Contemporary Drawing, The Museum of
Contemporary Art, Los Angeles, CA (exh. cat.)
Open House, (with Andrea Bowers) Williamson Gallery, Art Center College of Art and Design,
Pasadena, CA (exh. cat.)
a/drift: Scenes from the Penetrable Culture, Center for Curatorial Studies Museum, Bard College, Annandale-on-Hudson, New York, NY (exh. cat.)
Just Past: The Contemporary in the Permanent Collection, 1975 - 96, The Museum of Contemporary Art, Los Angeles, CA
The Palace of Good Luck, Burnett Miller Gallery, Santa Monica, CA
All Work - No Play, Acme, Santa Monica, CA
Modsquad, Spanish Box, Santa Barbara, CA
Real Goods, Manhattan Village Shopping Center, Manhattan Beach, CA
1995
Couldn’t Get Ahead, Independent Art Space, London, UK (exh. cat.)
The Friendly Village, Milwaukee Institute of Art and Design, Milwaukee, WI
1994
Gone, Blum & Poe, Santa Monica, CA
Constructed Views, Woodbury University, Burbank, CA
Thanks, Three-Day Weekend, Los Angeles, CA
Thanks Again FOODHOUSE, Santa Monica, CA
The Game Show, Riverside Art Museum, Riverside, CA
Le Temps d’un Dessin, Galerie de L’Ecole des Beaux Arts de Lorient, Paris, France
Utter Realities, Cerritos College, Cerritos, CA
1993
Germinal Notations, FOODHOUSE, Santa Monica, CA
Loose Slots, Temporary Contemporary Las Vegas, NV
Newport Harbor Biennial, Newport Beach Art Museum, Newport Beach, CA (exh. cat.)
Heaven Missing, Jose Freire Gallery, New York, NY
Melancholic Consolation and Cynicism, Kunstlerhaus Bethanien, Berlin, Germany and Ruth Bloom Gallery, Santa Monica, CA
FOODHOUSE visits the Art Store, organized by Randy Sommer, Los Angeles, CA
Thank You, FOOD HOUSE, Santa Monica, CA
1992
FAR Bazaar, Foundation for Art Resources, Federal Reserve Building, Los Angeles, CA (with Michael Coughlin, Kent Young and Andrea Bowers)
Good Design, Nomadic Site, Pasadena, CA
Afterthought, San Francisco Art Institute, San Francisco, CA
1991
Window on LA, organized by David Pagel, LA Art Fair, Los Angeles, CA
4 Person Show, Parker Zanic Gallery, Los Angeles, CA
The Absentbury Show, organized by Kent Riddle and Adam Ross, Bliss Annex, Pasadena, CA
Art Center, organized by Jennifer Steinkamp and Pae White, Pasadena, CA
Lectures, Symposia, and Seminars
2018
Who Can Speak for Whom? Artistic Freedom and the Challenges of Dealing with the Pain of Historical Trauma, as part of the College Art Association Conference, moderated by Svetlana Mintcheva, National Coalition Against Censorship, Los Angeles, CA
KaleidoLA Speaker Series: Sam Durant, Loyola Marymount University, Los Angeles, CA
Panel Discussion as part of the Glasgow International Festival and Nasher Dialogues Program, organized by The Common Guild, Glasgow, Scotland and Nasher Sculpture Center, Dallas, TX
2017
SOMA Summer 2017: Seminar with Sam Durant, Mexico City, Mexico
2016
Alumnos47, Mexico City, Mexico
Artist Talk, Aspen Art Museum, Aspen, CO
Scholl Lecture Series: Sam Durant, Pérez Art Museum, Miami, FL
Sam Durant: A Discussion of Recent Work, Cornell University, Ithaca, NY
Visiting Artist Series: Sam Durant, Otis College of Art and Design, Los Angeles, CA
Artist talks with Sam Durant and Ana Prvacki, Nanyang Technological University, Singapore
Parcours Talk: Race and Justice, with Tracey Rose, moderated by Sabine Breitwieser, Art Basel,
Basel, Switzerland
The Art of Inclusion: Making the Invisible Visible, Keynote, as part of Building An Inclusive City: A New conversation on Race, Bias & Divided Communities conference, with Rick Lowe, moderated by Pedro Alonzo, Massachusetts Institute of Technology, Boston, MA
2015
Visiting Artist Lecture Series: Sam Durant, Eastern Washington University, Cheney, WA; Northwest Museum of Arts & Culture, Spokane, WA; Spokane Falls Community College, Spokane, WA
Lecture: Sam Durant and Candice Hopkins, Mildred Lane Kemper Art Museum, Washington University, St. Louis, MO
Hammer Lectures: Sam Durant and Charles Gaines, Hammer Museum, Los Angeles, CA
Unwinding the Labyrinth, with Timothy Phillips, Darius Monrow, and Maria Gaspar, moderated by Pedro Alonzo, Pennsylvania Academy of the Fine Arts, Philadelphia, PA
Art Talk Event, Venice Family Clinic, with Jacob Kassay and Analia Saban, Venice, CA
Noah Purifoy: From Watts with 66 Signs of Neon to the Gallows, with Sue Welsh, Naima Keith, Michael Massenburg, and Dr. Lizzetta Le-Falle Collins, moderated by Franklin Sirmans and Yael Lipschutz, Los Angeles County Museum of Art, Los Angeles, CA
Musashino Art University, Tokyo, Japan
Sam Durant Artist Talk, Eastern State Penitentiary, Philadelphia, PA
Artist’s talk: Sam Durant, WIELS Contemporary Art Centre, Brussels, Belgium
2014
Studio Lecture Series, Stanford University, Palo Alto, CA
Public Art Fund Talks at the New School: Encounters: Artists, Cities and Communities, The New School, New York, NY
The Ruins of Mound City, with Juan William Chavez as part of Monument/Anti-Monument, St Louis, MO
Political Art Across Disciplines: Bérénice Reynaud, Travis Preston and Sam Durant, as part of WHAP! 2014 Lecture series, presented by the CalArts’ MA Aesthetics and Politics Program and the City of West Hollywood, Los Angeles, CA
Centre for Contemporary Art Singapore, Singapore
Artist Talk, LaSalle College of the Arts, Singapore
2013
Claremont Graduate University, Claremont, CA
Lecture by Sam Durant and Pieter Spierenburg, Royal Academy of Art, The Hague, Netherlands
2012
Fowler OutSpoken Conversation: Liza Lou and Sam Durant on Conceptualization and Collaboration, moderated by Alma Ruiz, Fowler Museum at UCLA, Los Angeles, CA
Conversation between Rigo 23, Caleb Duarte and Sam Durant, part of Autonomous InterGalactic Space Program, REDCAT, Los Angeles, CA
University of California, Irvine, CA
University of California, Los Angeles, CA
University of California, Santa Barbara, CA
The Ohio State University, Columbus, OH
Claremont Graduate University, Claremont, CA
2011
Hammer Conversations: Tom Morello and Sam Durant, Hammer Museum, Los Angeles, CA
Plática Inaugural: La Reconstrucción de Los Hechos (Inaugural Conversation: The Reconstruction of the Facts), Sam Durant and Marcos Ramírez Erre, Museo de Arte Carrillo Gil, Mexico City, Mexico
West Hollywood Aesthetics and Politics lecture series (WHAP!): Street Art, Sam Durant, Marquis Lewis, and Jeffrey Deitch, West Hollywood Library, West Hollywood, CA
2010
A Proposition by Sam Durant, New Museum of Contemporary Art, New York, NY
MFA Lecture Series: Sam Durant, Portland State University, Portland, OR
PennFine Arts Lecture Series: Sam Durant, PennDesign, Philadelphia, PA
AMT Visiting Artist Lecture Series: Sam Durant, The New School, New York, NY
2009
Art Center College of Design, Pasadena, CA
LaSalle College of the Arts, Singapore
Turin Art School, Turin, Italy
Workshop: Art and Community Engagement, with Transforma Collective, with Rick Lowe and Jessica Cusic, Hammer Museum, Los Angeles, CA
2008
Word: Spoken, Snug, Seen, Biennale of Sydney, Sydney, Australia
Proyecto Cívico, Centro Cultural Tijuana, Mexico
Artists and Activists, Orange County Museum of Art, Newport Beach, CA
University of Southern California, Los Angeles, CA (with Rick Lowe)
In Dialogue with Emory Douglas, San Francisco Art Institute, CAHirshhorn Museum of Art, Washington D.C.
Columbia University, New York, NY
Parsons New School for Social Research, New York, NY
Conversations with Contemporary Artists, the Elaine Terner Cooper Education Fund, Sackler Center for Arts Education, Guggenheim Museum, New York, NY
Is destruction creative? A discussion of the Defaced Monuments project, Stroom Den Haag, The Hague, Netherlands
2007
Museum of Contemporary Art, Panama City, Panama
Museum of Contemporary Art Detroit, Detroit, MI
Otis College of Art and Design, Los Angeles, CA
Eat the Market, Los Angeles County Museum of Art, Los Angeles, CA
UCLA Department of Art Lectures, Hammer Museum, Los Angeles, CA
Black Panther Rank and File, Maryland Institute College of Art, Baltimore, MD
This Must Be The Place, Smithsonian National Museum of the American Indian, Venice Biennale, Venice, Italy
2006
Art Papers Lecture, Atlanta, GA
University of California, Los Angeles, CA
Core Program, The Museum of Fine Arts, Houston, TX
Massachusetts College of Art and Design, Boston, MA
Institutional Critique, Yale University, New Haven, CT
2005
Vermont College of Fine Arts, Montpelier, VT
California State University, Long Beach, CA
University of California, Los Angeles, CA
Emily Carr University of Art + Design, Vancouver, Canada
InSite, University of California, San Diego, CA
2004
NAFTA, Museum of Contemporary Art, San Diego, CA
War! Protest In America, 1965-2004, REDCAT, Los Angeles, CA
Modern Art Museum of Fort Worth, Fort Worth, TX
Bezalel Academy of Arts and Design, Jerusalem, Israel
The Art Institute of Chicago, Chicago, IL
Voices: Sam Durant, Gallery 400, University of Illinois, Chicago, IL
Robert Smithson Retrospective: Public Program with Lee Renaldo and Lea Singer, Renee Green, Scott Benzel and Tom Reccion, Museum of Contemporary Art, Los Angeles, CA
2003
Walker Art Center, Minneapolis, MN
University of Minnesota, Minneapolis, MN
University of California, Irvine, CA
University of California, Los Angeles, CA
California Institute of the Arts, Valencia, CA
Akademie fur Aktuelle Kunst, Vienna, Austria
Govett-Brewster Art Gallery, New Plymouth, New Zealand
Kunstverein Düsseldorf, Düsseldorf, Germany
2002
Core Program, The Museum of Fine Arts, Houston, TX
Wadsworth Atheneum Museum of Art, Hartford, CT
Art Center College of Design, Pasadena, CA
University of California, Los Angeles, CA
California College of Arts, San Francisco, CA
Institute of Contemporary Art, Boston, MA
2001
Akedemie der Künste, Zurich, Switzerland
Royal College of Art, London, UK
Wild Walls Symposium, Berlin/Los Angeles Film Festival of Architecture And Urbanism, University of Southern California, Los Angeles, CA
Take Two/Reprise: Symposium, The Ottawa Art Gallery, Ottawa, Canada
2000
Practical Criticism: Art and Theory in the 90s, Pacific Design Center, Los Angeles, CA (organized by Charles Gaines and Russell Ferguson)
1997
Fake Estate: Where Art and Architecture Meet, Los Angeles Forum for Architecture and Urban Design, MAK Center for Art and Architecture, Los Angeles, CA (moderated by Cornelia H. Butler)
Curatorial Projects
2009
Black Panther: The Revolutionary Art of Emory Douglas, The New Museum, New York, NY
Tucker Stilley: The Permanent Record of NewJack Rasputin, Monte Vista Projects, Los Angeles, CA
2008
All Power to the People: The History and Legacy of the Black Panther Party Film Festival, Roy and Edna Disney/ CalArts Theater, Walt Disney Concert Hall, Los Angeles, CA
2007
Black Panther: The Revolutionary Art of Emory Douglas, Museum of Contemporary Art, Los Angeles, CA
2006
Eat the Market, Los Angeles Contemporary Museum of Art, Los Angeles, CA
2005
Touch of Evil, Estación Tijuana, Tijuana, Mexico
2004
War! Protest in America, 1965-2004, film series co-organized with Chrissie Isles, Whitney Museum of Art, New York, REDCAT/CalArts Theater, Los Angeles, CA
1999
Not Photography, Rosamund Felsen Gallery, Santa Monica, CA
1994
The Power of Positive Thinking, FOODHOUSE, Santa Monica, CA
Paranoid, M.Y.T.H. Series, Los Angeles, CA (co-organized with Andrea Bowers)
Other Projects
2014
What #isamuseum?, UC Berkeley Art Museum and Pacific Film Archive, Berkeley, CA
2013
What #isamuseum?, J. Paul Getty Museum, Los Angeles, CA
2007
Founding member of transforma Projects, a cultural rebuilding collective in New Orleans, LA
2006
Harlem Postcards Summer 2006, Studio Museum in Harlem, New York, NY
2005
The Other Side/ El Otro Lado (Regionalism, Nationalism, Imperialism), artist multiple, Chinati Foundation, Marfa, Texas
Public Commissions
2020
Like, Man, I'm Tired of Waiting, Billboard Series, Gent, Belgium
2017
Like Man, I’m Tired of Waiting (2002), Waterloo Billboard Commissions, Hayward Gallery, London, UK
2015
Labyrinth, Open Source/City of Philadelphia Mural Arts Program, Thomas Paine Plaza, Philadelphia, PA
2005
Public Prosecutor’s Office, Arnhem, Netherlands
2003
Project Row Houses, Houston, TX
Walker Art Center, Minneapolis, MN
Awards, Grants, and Residencies
2018
Rockefeller Foundation Bellagio Center Residency, Bellagio, Italy
2017
Rappaport Prize, deCordova Sculpture Park and Museum, Lincoln, MA
2008
Hugo Boss Finalist, Solomon R. Guggenheim Foundation and Hugo Boss Prize, New York, NY
Smithsonian Artist Research Fellow, Smithsonian Institution, Washington, D.C.
2006
United States Artists Fellow, USA Foundation, New York, NY
2005
The Ordway Prize Finalist, Penny McCall Foundation, New York, NY
2002-2003
Walker Art Center Artist in Residence, Minneapolis, MN
1999
Individual Artist Grant, Department of Cultural Affairs, Los Angeles, CA
BIBLIOGRAPHY
Catalogues
2020
Montross, Sarah, ed. Visionary New England. Cambridge, MA: The MIT Press, 2020.
Culture as Catalyst. Saratoga Springs: Tang Teaching Museum, 2020.
Iconoclasm. Detroit: Library Street Collective, 2020.
2019
Sculpture Milwaukee 2019. Milwaukee, WI: Sculpture Milwaukee, 2019, 42-43.
2017
The Meeting House / Build Therefore Your Own World, Texts by Pedro Alonzo, Tisa Bryant, Danielle Legros Georges, Robin Coste Lewis, Tim Phillips, and Kevin Young. Los Angeles: New York; London: Black Dog Publishing Limited, 2017.
2016
Burton, Johanna, Shannon Jackson, and Dominic Willsdon, eds. Public Servants: Art and the Crisis of the Common Good. Cambridge: The MIT Press, 2016, 61-62, 425.
2015
Vroonen, Erno, and Anna Wondrak, eds. Van Tuyckom-Taets Collection. Belgium: Leo Van Tuyckom, 2015.
2014
Murray, Laura J., S. Tina Piper, and Kirsty Robertson. Putting Intellectual Property in Its Place. New York: Oxford University Press, 2014.
2013
Artists & Editions. San Francisco: Rite Editions, 2013.
Blancscubé, Michel, Miguel Calderón, Brittany Corrales, Mark Dion, Sam Durant, Mónica Espinoza, Gordon Knox, Heather Sealy Lineberry, Julio César Morales, and Kristina Lee Podesva. Turn Off the Sun. Arizona: ASU Art Museum, 2013.
2011
Collection Vanmoerkerke. Brussels: Rispoli Books, 2011, 54-55.
DiQuinzio, Apsara, ed. The Air We Breathe: Artists and Poets Reflect on Marriage Equality. San
Francisco: San Francisco Museum of Modern Art, 2011, 16, 93-95.
Klanten, Robert, Matthias Hübner, Alain Bieber, Pedro Alonzo, and Gregor Jansen, eds. Art & Agenda: Political Art and Activism. Berlin: Gestalten, 2011, 268-71.
Mörtenböck, Peter and Helge Mooshammer, eds. Space (Re)Solutions: Intervention and Research in Visual Culture. Bielefeld: Transcript Verlag, 2011, 43-50.
Nisbet, Peter. Carolina Collects: 150 Years of Modern and Contemporary Art from Alumni Collections. Chapel Hill, North Carolina: Ackland Art Museum, 2011, 174-75.
Petry, Michael. The Art of Not Making: The New Artist/Artisan Relationship. London: Thames & Hudson, 2011, 178-79.
2010
Transforma: New Orleans 2005-2010. Produced by Transforma Projects. New Orleans: Transforma, 2010.
2007
Dersken, Jeff. The Poetics of Bad History. Vancouver: CJ Press, 2007.
Grayson, Kathy, ed. Panic Room: Selections from the Dakis Joannou Works on Paper Collection. July 2007, 34.
2006
Contemporary Art Exhibition, Busan Biennale 2006, Tale of Two Cities: Busan-Seoul/Seoul. Busan, Korea: Artbooks Publishing Corp., 2006, 84-85.
2005
Baldessari, John and Meg Cranston. 100 Artists See God, Independent Curators International, New York, 17.
Coles, Alex. Design Art, London: Tate Publishing, London, 2005, 116-17.
Durant, Sam. Proposal for White and Indian Dead Monument Transpositions, Washington, D.C., New York: Paula Cooper Gallery, 2005.
Honour, Hugh and John Fleming. A World History of Art. 7th ed. London: Laurence King, 2005, 903. Scott, Andrea. Vitamin D: New Perspectives in Drawing. London: Phaidon, 2005, 86-89.
2004
Bourriaud, Nicolas. Playlist. Palais de Tokyo, Paris, February 2004, 48. Durant, Sam, Peter Doroshenko, and Mary Leclere. Sam Durant: 12 Signs: Transposed and Illuminated (with various indexes). Gent, Belgium: S.M.A.K. (Stedelijik Museum voor Actuele Kunst, 2004.
Fisher, Elizabeth and Michael Harrison. Rear View Mirror. Cambridge, United Kingdom: Kettle’s Yard University of Cambridge, 2004, 3-8. Higgs, Matthew. Likeness: Portraits of Artists by Other Artists. New York: Independent Curators International and CCA Wattis Institute, February 2004, 45.
Sam Durant: Entropy in Reverse. New Plymouth, New Zealand: Govett-Brewster Art Gallery, 2004.
2003
Higgs, Matthew. “Sam Durant.” In Baja to Vancouver: The West Coast and Contemporary Art. San Francisco: CCA Wattis Institute, Museum of Contemporary Art San Diego, Seattle Art Museum, and Vancouver Art Gallery, 2003, 48-49.
Collins, Thom. “Sam Durant.” In Somewhere Better Than This Place: Alternative Social Experience in the Spaces of Contemporary Art. Cincinnati, Ohio: Contemporary Arts Center, 2003, 114-15.
2002
Baume, Nicholas. “Sam Durant: Following the Signs.” In Sam Durant/Matrix 147:
7 Signs; removed, cropped, enlarged and illuminated (plus index), Wadsworth Atheneum, Hartford, CT.
Darling, Michael, Rita Kersting, and Kevin Young. Sam Durant. Los Angeles: Museum of Contemporary Art; Ostfildern-Ruit: Hajte Cantz Publishers, 2002.
Molon, Dominic. “Deceptive Spaces, Dysfunctional Places.” In Out of Place: Contemporary Art and the Architectural Uncanny. Chicago: The Museum of Contemporary Art, June 2002, 9.
Butler, Cornelia H., “Power of Suggestion.” The Power of Suggestion: Narrative and Notation in Contemporary Drawing, Los Angeles: Museum of Contemporary Art; Santa Monica: Smart Art Press, 11.
Articles and Reviews
2021
Harris-Huffman, Rachel. “Sam Durant’s Iconoclasm: The Construction and Destruction of Art as Social Practice.” List.co.uk, June 23, 2021.
Holmes, Helen. “A Drone Sculpture by Sam Durant Will Soon Hover over New York’s High Line.” Observer.com, April 15, 2021.
Sheets, Hilarie M. “First to Rise after a Fray: A Drone.” New York Times (April 15, 2021).
Angeleti, Gabriella. “Sam Durant to Create Drone Sculpture for the High Line's Next Plinth Commission.” Theartnewspaper.com, April 14, 2021.
Gaines, Charles. “Artist Charles Gaines on How a Fellowship at CalArts Could Be a Model for Art Schools in Need of Change.” ARTnews, March 16, 2021.
Eler, Alicia. “Walker Art Center Rebuilds Its Relationship with Minnesota Artists.” Startribune.com, March 12, 2021.
Peters, Katie. “An afternoon at the deCordova.” The1851chronicle.org, March 2021.
Zara, Janelle. “What Becomes a Legend Most?” Elle Decor (March 2021): 70-77.
Liberatore, Wendy. “Tang Museum Publishes Book on Pressing Issues of Day.” Blog.timesunion.com, January 19, 2021.
2020
Bishara, Hakim. “32 Museum Directors Lead Calls for German Parliament to Reverse BDS Ruling.” Hyperallergic.com, December 14, 2020.
“The Rappaport Foundation and deCordova Sculpture Park and Museum Present Speaking Our Minds: Artists, Racial Divides, and Cultural Inclusion.” Hyperallergic, December 2, 2020.
“Artists, Curators, and More Reflect on Their Voting Experiences.” Hyperallergic, November 3, 2020.
Berg, Allison. "Head of the Class." LALA Magazine (Winter 2020): 134.
“Case Studyo Releases Artist Sam Durant's 'Tell It like It Is!' Electric Sign.” Hypebeast.com, April 29, 2020.
Meaney, Thomas. “The Idea of a Nation.” The Point (Summer 2020): 94-101.
Harris, Gareth. “Q&A | Drawings of ‘Eruptions of Violence’ against Statues Fill Sam Durant’s New Book.” TheArtNewspaper.com, July 10, 2020.
"LALA Dispatch: The Importance of Charles Gaines Legacy According to Artists.” CulturedMag.com, April 13, 2020.
Rubinstein, Raphael. “Experimental Art Unlimited.” Art in America, November 4, 2020.
“Sam Durant in Conversation with Adjunct Curator Pedro Alonzo.” DallasContemporary.org, September 2020.
Smith, Melissa. “Legendary Black Panther Artist Emory Douglas on How Digital Media Can Be Harnessed to Make Protest Art Far More Effective Than Ever.” Artnet News, June 30, 2020.
"Tell It like It Is: A Collaborative Sculpture by Sam Durant with Case Studyo.” Juxtapoz.com, April 29, 2020.
Vartanian, Hrag. "Sam Durant Revisits the “Scaffold” Controversy Three Years Later." Hyperallergic.com, October 23, 2020.
Zellen, Jody. “Gallery Rounds: Sam Durant at Blum & Poe.” ArtilleryMag.com, November 2, 2020.
2019
DeVito, Lee. “Artist Sam Durant Looks at Moments of 'Iconoclasm' throughout History in Library Street Collective Exhibition.” MetroTimes.com, October 30, 2019.
Gómez, Jaime Vigna. “El Más Fuerte del Mundo.” Capital Magazine (April 2019): 52-55.
Meyer, James. “What the Present Owes to the Past: Why Robert Smithson and the Art of ’60s Remain So Vividly Present in Contemporary Art.” Artnet News, December 25, 2019.
2018
Campodonico, Christina. “The Art of ‘Difficult Things.’” Argonautnews.com, May 16, 2018.
Cascone, Sarah. “Editors’ Picks: 17 Things Not to Miss in New York’s Art World This Week.” Artnet News, June 18, 2018.
Dambrot, Shana Nys. "Art at Nerano: Empathy for Everyone, Pasta for Some." LAWeekly.com, October 5, 2018.
Duff, Gary. “LA Artist Sam Durant on the Limits of Creativity & His Controversial Art Piece ‘Scaffold.’” Los Angeles Confidential, May 18, 2018. Finkel, Jori. "Sam Durant and Anne Ellegood Reflect on Being in the Hot Seat of Museum Controversies." Art Newspaper, February 23, 2018.
2017
Caldwell, Ellen C. "An Interview with Sam Durant." Riot Material, March 12, 2017.
Cascone, Sarah. “ After Outcry From the Dakota Nation, the Walker Art Center May Dismantle a ‘Traumatizing’ Gallows Sculpture by Sam Durant.” Artnet News, May 30, 2017.
Davis, Genie. "Continuing and Recommended: Sam Durant." ArtScene 36, no. 5 (February 2017): 18-19.
Dickinson, Sheila. “’A Seed of Healing and Change’: Native Americans Respond to Sam Durant’s ‘Scaffold.’” Artnews, June 5, 2017. Duncan, Thomas. "Sam Durant at Blum & Poe." Carla, February 1, 2017.
Dunne, Susan. "'Mirror Mirror' On Wadsworth's Walls." Courant.com, December 18, 2017.
Kordic, Angie. "Blum and Poe LA Opens a Sam Durant Exhibition." Widewalls, January 2017.
Krug, Simone. "Critics' Picks: Sam Durant." Artforum, January 2017.
Li, Jennifer S. "Exhibition Reviews: Sam Durant at Blum & Poe." Art in America (March 2017): 136-137.
Maerkle, Andrew. “The Manifest Destiny of Borrowed Scenery: Pt I.” Art-it.asia, September 22, 2017.
Maerkle, Andrew. “The Manifest Destiny of Borrowed Scenery: Pt II.” Art-it.asia, September 29, 2017.
Miranda, Carolina A. "Datebook: Objects That Remix African and American, Paintings of Shangri-La, Peter Saul Before He Was Pop." Los Angeles Times, January 5, 2017.
Remenchik, Jennifer. “Objects that Manifest the Contradictions of American History.” Hyperallergic, February 11, 2017. "Sam Durant's New Works on View at Blum & Poe, Los Angeles." Blouin Artinfo, January 20, 2017. Sargent, Antwaun. "Black Poets, 19th Century Transcendentalists Inspire a Sculptural Look at Race." The Creators Project, January 31, 2017.
Scott, Andrea K. “Does an Offensive Sculpture Deserve to be Burned?” New Yorker, June 3, 2017.
Sheets, Hilarie M. “Emmett Till’s Coffin, a Hangman’s Scaffold and a Debate Over Cultural Appropriation.” New York Times, May 31, 2017.
Sheets, Hilarie M. “Dakota People are Debating Whether to Burn ‘Scaffold’ Fragments.” New York Times , June 5, 2017.
Swanson, Carl. "Is Political Art the Only Art That Matters Now?" New York Magazine, April 17, 2017.
Tylevich, Katya. "Destination—LA: Sam Durant." Elephant Magazine 32 (Autumn 2017): 184-186.
2016
Almeida, Debora. "Concord's Old Manse Holds Community Discussions on African-American Struggles." Boston Globe, August 11, 2016.
Angeleti, Gabriella. "Jeppe Hein and Sam Durant Create Reflective Works for Historic Sites in Massachusetts." Art Newspaper, August 5, 2016.
Cascone, Sarah. "Here's the Full List of Parcours Projects at Art Basel." ArtnetNews, May 20, 2016.
Cheng, Scarlet. "Top 10 Most Anticipated Highlights for Art Basel 2016." Robb Report, June 8, 2016.
Colby, Celina. "Sam Durant's 'The Meeting House' Reveals Truths About Race and Slavery." Bay State Banner [MA], October 7, 2016.
Fair, Audrey. “Must-See Art Guide: Tokyo.” Artnet News, January 7, 2016.
Forrest, Nicholas. "Domaine du Muy Welcomes New Artworks for 2016 Season." Blouin ArtInfo, August 10, 2016.
Fort, Patrick. "Artist Sam Durant Teaches Art Critique and Learns From His Students." Aspen Public Radio [Colorado], May 20, 2016.
Gardner, Mark. "Art in the Landscape at World's End & Old Manse." Patriot Ledger [Quincy, MA], June 27, 2016.
Hiro, Rika. “Zen Interview 06: Sam Durant.” Bijutsu Techo 1044, vol. 68 (November 2016): 28-31.
Jansen, Charlotte. "Finding a Quiet Place for Contemplation at Art Basel 2016." MutualArt.com, Jun 16, 2016.
Kimura, Eriko. "Artist Pick Up: Sam Durant." Bijutsu Techo vol. 68 (February 2016): 108-109.
McQuaid, Cate. "From America's Beginning to World's End." Boston Globe, October 13, 2016.
Schwan, Henry. "Conversation Starter." Wicked Local [Concord, MA], June 29, 2016.
2015
Arnold, Willis Ryder. "Durant Exhibit Challenges History of Westward Expansion." St. Louis Public Radio, January 25, 2015.
Beall, Dickson. "Themes of Identity, Division at the Kemper Art Museum." West End Word (St. Louis, MO), March 25, 2015.
Crimmins, Peter. “Philadelphia Public Spaces Are Canvas for Open Source Art Exhibit.” Newsworks.org, October 2, 2015.
Gamble, Kathy. "Walker Art Center Museum Is for Everyone." Baltimore Post-Examiner, January 13, 2015.
Jodice, Noah. "Sam Durant and Historical Memory." Student Life (St. Louis), January 26, 2015.
Pereira, Lorenzo. “Sam Durant Exhibition in Tokyo with Blum and Poe Explores Various Cultural Issues Through Provoking Imagery.” Widewalls, November 2015.
Scher, Robin. “’It Is a Revolutionary Idea that Beauty Should be Available to All’: Sam Durant on ‘Labyrinth’, His New Public Artwork in Philadelphia About Mass Incarceration.” ARTNews, October 2, 2015.
Sitko, Mark. "Meet the New Faces of Venice Art Walk." Culture Files (blog), Los Angeles Magazine, May 12, 2015.
Sumiyoshi, Chie. Vogue Japan, November 30, 2015.
2014
Cooper, Ashton. "23 Questions for History-Inspired Artist Sam Durant." Blouinartinfo.com, August 9, 2014.
Haddaya, Mostafa. "Reconstructing the Legacy of Surrealism." Hyperallergic, October 20, 2014.
Plagens, Peter. "Art Review: Gallery Exhibitions of Dave Hardy, Matthew Ritchie and Sam Durant." Wall Street Journal, October 10, 2014.
Rosenberg, Karen. "Sam Durant: 'Invisible Surrealists.'" New York Times, October 10, 2014.
Vartanian, Hrag. "The Revolution Postcolonial Imagination of Surrealism." Hyperallergic, October 17, 2014.
2013
Durant, Sam. "What #isamuseum?," YouTube video, 2:37, posted June 5, 2013. http://www.youtube.com/watch?v=q-1AoX6PyJg. Schumacher, Mary Louise. “Sam Durant’s ‘What #isamuseum’ at the Getty Museum.” Journal Sentinel (Milwaukee), May 8, 2013.
Stephan, Annelisa. "Artists Reinventing the Museum, A Google Art Talk with Sam Durant." Iris (blog), June 12, 2013, http://blogs.getty.edu/iris/artists-reinventing-the-museum-a-google-art-talk-with-sam-durant/.
2012
Gopnik, Blake. "Art to Die for." DailyBeast.com, June 9, 2012.
Knöfel, Ulrike. "What the 13th Documenta Wants You to See." Spiegel Online, June 8, 2012.
Marsh, Sarah and Tanya Wood. "What is Art? German Fair Tests Limits." Reuters, June 3, 2012.
Searle, Adrian. "Documenta 13: Mysteries in the Mountain of Mud." Guardian, June 11, 2012.
2011
“Sam Durant: Porcelain Chairs.” O.K. Periodicals 6 (2011): 74-75.
2010
Decter, Joshua. “Sam Durant: Paula Cooper Gallery.” Artforum 48, no. 10 (Summer 2010): 349-50.
Gilman, Claire. “Marking Politics: Drawing as Translation in Recent Art.” Art Journal 69, no.3 (Fall 2010): 114-27.
2009
Beradini, Andrew. “2008 California Biennial.” Frieze no. 121 (March 2009): 150-51.
Davies, Lillian. “Stratégies Imparfaites.” Roven (April 2009): 14-21.
Knight, Christopher. “It’s Freedom, or Something Like It.” Los Angeles Times, April 17, 2009.
Mizota, Sharon. “Sam Durant: This is Freedom? At Blum & Poe.” Art on Paper (September-October 2009): 104-105.
Sorkin, Jenni. “Ours.” Frieze no. 121 (March 2009): 162-63.
2008
Anderson, Virginia Billeaud. ‘Old, Weird America’ explores American folklore.” Houston Weekly, May 20, 2008.
“Biennale ‘controversial’.” Australia World News, June 18, 2008. Duncan, Michael. “The Spectacular Wrath of Saul: Peter Saul’s History Paintings.” In Peter Saul. Newport Beach: Orange County Museum of Art, 2008, 59.
“Exhibit set to spark controversy.” The West Australian, June 17, 2008.
Gajkowski-Hill, Sarah, “Visual Art Review: Old Weird America.” Arts Houston, June 2008, 44-45.
Gardner, Anthony. “Biennale of Sydney.” Artforum 46, no. 9 (May 2008): 198.
Grabner, Michelle. “Makers and Modelers: Works in Ceramic.” X-Tra 10, no. 3 (Spring 2008): 54-57.
Jasper, Adam. “More Than Spin: Sydney Biennale.” ArtReview, no. 23 (June 2008): 38.
Jinman, Richard. “Controversy Hangs Around Biennale Poster.” Sydney Morning Herald, June 24, 2008.
Klaasmeyer Kelly. “How Bizarre: A CAMH Exhibition Unearths this Country’s Strangeness.” Houston Press, June 26, 2008.
Knight, Christopher. “Don’t Take It Lying Down.” Los Angeles Times, November 5, 2008.
McKinnion, Kelsey. “Culver City: Fresh Paint.” C Magazine, April 2008, 28 .
Sonnenborn, Katie. “Makers and Modellers.” Frieze no. 113 (March 2008): 182.
Vogel, Carol. “Inside Art: Finalists Named For Huge Boss Prize.” New York Times, January 4, 2008.
Webel, Scott. “The Old, Weird America.” Fluent~Collaborative, June 13, 2008.
Wolin, Joseph R. “Reviews: Unmonumental.” Modern Painters (May 2008): 88-89.
Vogel, Carol. “Palenstinian-American Wins Hugo Boss Prize.” New York Times, November 14, 2008.
2007
Bogle, Allie. “Sam Durant.” Artillery 1, no. 5 (May 2007): 33.
Bombelli, Ilaria. “Sam Durant.” Flash Art 40, no. 262 (February-March 2007): 110.
Burnham, Clint. “Sam Durant.” Akimbo.ca, March 29, 2007.
Castelli, Stefano, “Sam Durant.” Exibart.com, January 18, 2007.
Darwent, Charles. “Makers and Modelers: Works in Ceramic.” Crafts Magazine (November-December 2007): 68.
Dykk, Lloyd. “A Not-So-Hokey Look at the Dark Side of the Pilgrim,” Vancouver Sun, March 30, 2007.
Falconer, Morgan. “Sam Durant.” Time Out (New York), April 2007, 19-25.
Gaines, Malik. “Sam Durant: Shaping History.” Art Review no. 8 (February 2007): 50-57.
Hanks, Robert. “The Art of War: Bringing the Dead Home,” The Independent, April 27, 2007, 2-4.
Harvey, Nicola. “Sam Durant.” Frieze no. 111 (November-December 2007).
Laurence, Robin. “Been Up So Long It Looks Like Down To Me,” Straight.com, September 9,
2007.
Lindey, Christine. “Iraq War: A vital theme,” Morning Star, June 4, 2007.
Melrod, George. “Plymouth Crock.” Art Ltd. (July 2007): 24-31
“Memorial to the Iraq War,” Metro London, May 24, 2007.
Pagel, David. “Exposing myths of the Pilgrims,” Los Angeles Times, March 16, 2007.
“Sam Durant,” New Yorker, April 30, 2007, 8.
Smith, Roberta. “In Galleries, A Nervy Opening Volley.” New York Times. November 30, 2007.
Sonnenborn, Katie. “Makers and Modellers.” Frieze no. 113 (March 2008): 182.
2006
Casavecchia, Barbara. “Manichini e installazioni rovesciano I miti made in Usa.” La Repubblica, November 25, 2006.
Curcio, Seth. “Sam Durant.” Daily Serving, November 22, 2006.
Delux, Bertrand. “Sam Durant.” 02 (December 2006): 62.
Johnson, Ken. “He Reconstructs Dioramas to Deconstruct Historical Myths.” Boston Globe, Wednesday, November 22, 2006.
Johnson, Ken. “Notes from the Wunderground, and More.” Boston Sunday Globe, December 31, 2006.
Kurtz, Katie. “Black Panther Rank and File.” Art Papers 30, no. 4, (July-August 2006): 46-47.
Park, Manu. “Sam Durant.” In A Tale of Two Cities: Busan-Seoul, Seoul-Busan. Gyeonggi, Korea: Artbooks, 2006. Morgan, Margaret. “Regarding Beauty.” In A Companion to Contemporary Art since 1945. Malden: Blackwell Publishing, Massachusetts, 2006.
Travaglini, Cristina. “Sam Durant.” Mousse no. 5 (December 2006): 6-9.
2005
Casadio, Mariuccia. “Sunset Rising.” Vogue (Italia) (January 2005): 370-76.
Casadio, Mariuccia. “Artists On Art In 2005 (Sam Durant-Dee Williams).” Vogue (Italia) (February 2005): 342.
Gaines, Malik. “Sam Durant.” In Moscow Biennial of Contemporary Art: Dialectics of Hope, Moscow: ArtChronika, 2005, 106-109 (exh. cat.).
Johnson, Ken. “Sam Durant.” New York Times, October 28, 2005.
Kline, Christina. “Sam Durant.” Art Papers (January-February 2005): 54.
Kraus, Chris, ed. “Sam Durant.” In LA Artland. London: Black Dog Publishing, 2005, 170-171.
Laubard, Charlotte. “Dossier Alterminimal.” 02 Revue D'Art no. 34 (2005): 22.
McFadden, Jane. “Los Angeles: Then and Now, Here and There.” In LA Artland. London: Black Dog Publishing, 2005, 40-57.
Pagel, David. “A Lens and A Mirror.” Los Angeles Times, September 7, 2005.
Saltz, Jerry. “Blood Monument.” Village Voice, October 19-25, 2005, 76.
Schwendener, Martha. “Sam Durant.” Time Out (New York), October 20-26, 2005, 71.
“Goings On About Town: Sam Durant.” The New Yorker, October 24, 2005, 20
Wagner, Alex. “Re-Visionist: Sam Durant's American History.” Fader, July-August 2005, 50.
2004
Carter, Holland. “Art; Duck! It’s Whitney Biennial Season Again.” New York Times, March 7,
2004.
Dambrot, Shana Nys. “Sam Durant at Blum & Poe.” Artweek, (December 2004-January 2005): 17-18.
Danto, Arthur. “The Kids Are Alright.” The Nation, May 17, 2004, 32-36.
Diez, Renato. “Alla Bienale del Whitney: Torna la Pittura.” Arte (April 2004): 104-11.
Flatley, Jonathan. “The Agency of Letters.” Afterall, no. 10 (2004): 92-98.
Foster, Hal. “An Archival Impulse.” October no. 110 (Fall 2004): 3-22.
Herrmann, Matthias. “Monica Bonvicini/Sam Durant.” Camera Austria, no. 86 (2004): 29-39.
Higa, Karin. “Interested In Signs: Sam Durant In Conversation.” Wrong Times (Summer 2004): 8.
Kimmelman, Michael. “Touching All Bases At the Biennial.” New York Times, March 12, 2004.
Knight, Christopher. “Binary days at the Biennial.” Los Angeles Times, April 11, 2004.
Knight, Christopher. “Coastal Confluence.” Los Angeles Times, February 1, 2004. Martín,
Patricia. Edén. Ghent, Belgium: Snoeck-Ducaju & Zoon, N.V., April 2004, 121.
Leclere, Mary. “Speaking of Others.” Afterall no. 10, 82-91
Pagel, David. “Solidarity in Rock Throwing.” Los Angeles Times, September 24, 2004.
Probst, Ursula Maria. “Break It/ Fix It.” Derive, no. 15 (2004): 27.
Smith, Roberta. “Emerging Talent, And Plenty of It.” New York Times, March 12, 2004.
Studio Israeli Art Magazine (May-June 2004): 12-17.
Tumlir, Jan. “Review: Sam Durant.” Artforum 42, no. 4 (December 2004): 202.
“What the World Needs Now…Art and Politics: 22 Artists Respond.” Frieze, no. 87 (November-December 2004): 76-89.
Wilshire, Mark. “Review: Rear View Mirror.” Art Monthly (November 2004): 281.
2003
Gray, Emma and Pablo Lafuente. “You Haven’t Taught Until You See the Light Bulb in Their Eyes Light Up.” Art Review 1, no. 9 (July-August 2003): 47.
Berwick, Carly. “Sam Durant,” Vogue (Hommes International), Spring-Summer 2003, 150-151. Deller, Jeremy. “Strange Fruit.” Dazed and Confused 6, no. 2 (October 2003): 140-147.
Fox, Dan. “Like a rolling stone.” Frieze no. 74 (April 2003): 70-73.
Gaines, Malik. “Sam Durant.” Tema Celeste, no. 95 (January-February 2003): 64-69.
Hofleitner, Von Johanna. “Den Raum buchstablich zerlegen.” Die Presse, November 29-30, 2003.
Joselit, David. “Sam Durant at Museum of Contemporary Art, Los Angeles.” Artforum 41, no. 5 (January 2003): 130-132.
Mittringer, Markus. “Sprache und Architektur in ratlosem Gegenuber.” Der Standard, November 28, 2003, 26.
Rattemeyer, Christian. “Die Neue Referenzklasse Sam Durant in Los Angeles und Dusseldorf.” Texte Zur Kunst (June 2003): 209-214.
2002
Greenlee, Gina. “Like, Man, What is This Sign Trying to Tell Me?” The Hartford Courant, July 16, 2002.
Harvey, Doug. “Sam & Dave: The Politics of Mixology.” LA Weekly, October 18-24, 2002, 32-33
Kerr, Merrily. “From the Observatory at Paula Cooper Gallery, New York.” Flash Art 34, no. 224 (May-June 2002): 82.
Knight, Christopher. “In a Distinctly American Groove.” Los Angeles Times, November 2, 2002.
Mahony, Emma. “Anyone Can Play Guitar.” In Air Guitar: Art Reconsidering Rock Music.\
Milton Keynes Gallery, Central Milton Keynes, United Kingdom, 2002, 7-11.
Morgan, Jessica. “Artists Imagine Architecture Essay.” In Artists Imagine Architecture, Boston: Institute of Contemporary Art, 2002, 4-46.
Nickas, Bob. “Preview Fall 2002: Sam Durant at The Museum of Contemporary Art Los Angeles.” Artforum 41, no. 1 (September 2002): 72-73
Rosoff, Patricia. “Sign Language.” Hartford Advocate, July 25, 2002, 21.
Schürmann, Wilhelm. “Sam Durant: Re-cycled Upside-Down and Backward.” Prophets of Boom: Werke aus der Sammlung Schürmann. Baden-Baden, Switzerland: Kunsthalle Baden-Baden, Summer 2002, 70-81.
2001
Coles, Alex. “Revisiting Robert Smithson in Ohio: Tacita Dean, Sam Durant and Renee Green.” Parachute, no. 104 (Fall 2001): 128-137.
Comer, Stuart. “Sam Durant Interviewed by Stuart Comer.” Untitled (Spring 2001): 7-9.
“Sam Durant at Emi Fontana.” Flash Art 34, no. 219 (August-September 2001): 97-98.
Kern, Kristine. “Kritisk kunst.” Politiken, March 31, 2001.
Pagel, David. “Exhibition Accents a Modern Masterpiece.” Los Angeles Times, March 24, 2001.
2000
Campbell, Clayton. “Sam Durant at Blum & Poe.” Flash Art 33, no. 210 (January-February 2000): 118.
Hettig, Frank-Alexander. “Sam Durant.” Metropolis M (June-July 2000): 50-53.
Ichihara, Kentaro. “Sam Durant.” Bijutsu Techo, no. 3 (March 2001): 146-152.
Meyer, James. “Impure Thoughts: The Art of Sam Durant.” Artforum 38, no.8 (April 2000): 112-117.
Pagel, David. “Durant’s Pretend Theme Park Sends History Rockin’, Rollin’.” Los Angeles Times, November 3, 2000.
Relyea, Lane. “Less a Review Than a Long Digression On Sam Durant’s Show At Blum & Poe.” X-Tra 3, no. 2 (December 1999-January 2000): 8-10.
Russell, John. “The Proliferation of New Ways to Draw.” New York Times, August 18, 2000.
Tumlir, Jan. “Baldessari’s Urn: ’90’s Art in Los Angeles.” Artext, no. 71 (November 2000-January 2001): 42-51.
Schimmel, Paul. “Entropy Made Visable, ForwArt: a choice.” Belgium: Cultural BBL. 2000, 35-39.
1999
Bonik, Manuel. “‘Entropy at Home’, Suermondt-Ludwig-Museum.” Flash Art 32, no. 205 (March-April 1999): 44.
Janssen, Gregor. “Zum Sleep-In auf dem Holzschuppen.” die tageszeitung (September-November 1999): 72-73.
Joyce, Julie. “Sam Durant at Blum & Poe.” Art Issues, no. 57 (November-December 1999): 45.
Knight, Christopher. “Publicly Funded Artists Rise to Challenge.” Los Angeles Times, June 4, 1999.
Labelle, Charles. “Escape Trajectory, Mike Davis’s latest book, Ecology of Fear, envisions Los Angeles as a disaster-prone city of suspicion.” World Art, no. 20 (1999): 40-45.
Miles, Christopher. “Sam Durant, Blum & Poe.” Artforum 38, no. 3 (November 1999): 148.
Pagel, David. “Sam Durant Takes a Look Back(ward) at Social History.” Los Angeles Times, September 24, 1996.
Romer, Stefan. “What Your Children Should Know About Conceptualism.” Neuer Aachener Kunstverein, Aachen, Kunstforum (International), no. 148 (December 1999-January 2000): 348.
Schollhammer, Georg. “A Living Theater.” Springerin (September-November 1999): 72-73.
1998
Auerbach, Lisa Anne. “‘Trash’ at L.A. Municipal Art Gallery.” LA Weekly, April 3, 1998, 55.
Baltin, Brian. “Small is Psychedelic, Los Angeles Under a Microscope.” LA Weekly, November 27, 1998, 47.
Miles, Christopher. “Sam Durant: Going With the Flow.” Art/Text, no. 63 (November 1998-January 1999): 48-53.
Wilson, William. “’Lilliput’: Small Art in the Big City of L.A.” Los Angeles Times, November 24, 1998.
1997
Auerbach, Lisa Anne. LA Weekly, December 27, 1997, 40.
Curtis, Cathy. “The Cold Shoulder.” Los Angeles Times, October 17, 1997.
Greene, David A. Art Issues, no. 41 (January-February 1996): 46.
Hainley, Bruce. “The Power of Suggestion.” Artforum 25, no. 6 (February 1997): 82.
Helfand, Glen. “Sam Durant and Anne Walsh at Four Walls.” San Francisco Bay Guardian, October 1, 1997.
Kim, Soo Jin. “Some Models.” Xtra (Spring 1997): 7-8.
Melrod, George. “Sam Durant.” Art & Auction 20, no. 2 (February 1997): 30.
Pagel, David. “Finding Ways to Break Out of a Box of Conformity.” Los Angeles Times,
February 21, 1997.
Schmerler, Sarah. “Sam Durant at Curt Marcus.” Art News 96, no. 10 (November 1997): 226.
Sheikh, Simon. “L.A. From the Sunny Side.” Information, September 12, 1997.
1996
Auerbach, Lisa Anne. Artforum 34, no. 5 (January 1996): 89.
Greene, David A. “LA Story.” Art Monthly, no. 193 (February 1996): 8-10.
Greene, David A. ed. “Art & The Home; Sam Durant: Project.” Art & Design (November-December 1996): 23-32.
Knight, Christopher. “Can Artists Run Their Own Spaces and Find ‘True.BLISS.’?” Los Angeles Times, December 27, 1996.
Knight, Christopher. “Drawing the Conventional Conceptualist’s Conclusions.” Los Angeles Times, November 12, 1996.
Pagel, David. Los Angeles Times, July 11, 1996.
Pagel, David. “Lots of Luck.” Los Angeles Times, July 25, 1996.
Wilson, William. Los Angeles Times, November 22, 1996.
1995
Barrett, David. “Couldn’t Get Ahead.” Frieze, no. 23 (Summer 1995)
Craddock, Sacha. London Times, April 9, 1995.
Feaver, William. “Strange Habits and Sharp Practice.” London Observer, April 23, 1995.
Grabner, Michelle. “The Friendly Village.” Art Muscle (October- November 1995): 13-22.
Kandel, Susan. “Grouped Together to Stand Apart.” Los Angeles Times, January 12, 1995.
Kastner, Jeffrey. “Sam Durant.” Frieze no. 23 (Summer 1995).
Kent, Sarah. “Art Review.” Time Out (London), April 1995.
Knight, Christopher. “Deconstruction.” Los Angeles Times, October 28, 1995.
Marino, Melanie. “Sam Durant at Roger Merians.” Art in America no. 7 (July 1995): 82-83.
McEwan, John. “Critic’s Choice.” Sunday Telegraph, April 23, 1995.
O’Reilly, John. “Art for Bart’s Sake.” Modern Review, April 10, 1995.
Klabin, Karen. “Safe as Houses.” Detour (November 1995): 135.
1994
Jarrell, Joe. “Sam Durant.” Sculpture (July-August 1994).
Pagel, David. “Self-Help Culture Skewered at FOODHOUSE.” Los Angeles Times,
April 21, 1994.
Walker, Hamza, James Scarborogh, Brad Killam, Kathryn Hixson and Joe Jarrell. Sculpture (July-August 1994).
1993
Crosby, Gregory. “The Professor’s Guide to Vegas Kulcher.” SCOPE (October 1993).
Curtis, Cathy. “Painting Pictures.” Los Angeles Times, October 14, 1993.
Devine, Rory. “Heaven Missing,” Picturebook 4 (1993).
Littlefield, Kinney. “A Check of Contemporary Art.” Orange County Register, October 1, 1993.
Pincus, Robert. “Showcase of an Art Generation has few Flashes of Brilliance.” San Diego Union
Tribune, October 17, 1993.
Wilson, William. “Biennial Uses Humorous Paradox to Tackle Issues.” Los Angeles Times, October 9, 1993.
Wilson, William. “Private Thoughts Go Public at Newport Harbor.” Orange County Register,
October 6, 1993.
Smith, Roberta. New York Times, September 10, 1993.
1992
Pagel, David. “Overdose of Vagueness.” Los Angeles Times, May 15, 1992.
Publications by the Artist
2012
Durant, Sam and Luis Camnitzer. “The Church of Ethical Cynicism.” Mousse, no. 32 (2012): 198-203.
“Scaffold.” Annual Magazine, no. 5 (2012): 18-20.
2010
“Hans Haacke: The Power that Artists Have.” Flash Art 43, no. 270 (January-February 2010): 50-54.
2008
Nancy, Buchanan, ed. ID 517: Special Topics in Art and Politics: A Not So Simple Case for Torture. Paris: One Star Press, 2008.
2007
Black Panther: The Revolutionary Art of Emory Douglas. New York: Rizzoli International Publishers, 2007.
“Production Notes.” Artforum 46, no. 2 (October 2007): 335. Scenes from the Pilgrim Story: Myths, Massacres and Monuments. Boston, MA: Massachusetts College of Art, 2007, 12-25.
2005
“Notes on Drift, Monuments: For Robert Smithson, L.A. MOCA October 2004.” Drift, New York: GAS Gigantic ArtSpace, 2005.
Proposal for White and Indian Dead Monument Transpositions, Washington, D.C. New York: Paula Cooper Gallery, 2005, 5-9 (cat).
Monuments for the USA. San Francisco: California College of the Arts, 2005, 54-57 (exh. cat.).
2004
“What the world needs now…Art and Politics: 22 artists respond.” Frieze no. 87 (November-December 2004): 76-89.
2002
“Roots.” V Magazine, November-December 2002.
“Text on the Double Woodshed.” Prophets of Boom: Werke aus der Sammlung Schürmann. Baden-Baden, Switzerland: Kunsthalle Baden-Baden, Summer 2002, 154.
“Top Ten.” Artforum 41, no. 3 (November 2002): 71.
2001
“Saving Graces.” Artforum 39, no. 9 (May 2001): 151-52.
Museum and Public Collections
Art Gallery of Western Australia, Perth, Western Australia
Berkeley Art Museum, Berkeley, CA
deCordova Sculpture Park and Museum, Lincoln, MA
Fonds National d’Art Contemporain, Paris, France
Hammer Museum, Los Angeles, CA
Henry Art Gallery, Seattle, WA
Institut d’Art Contemporain Villeurbanne, Lyon, France
Los Angeles County Museum of Art, Los Angeles, CA
Musée d’Art Moderne de Paris, Paris, France
Museum of Contemporary Art, Chicago, IL
Museum of Contemporary Art, Los Angeles, CA
Museum of Contemporary Art, San Diego, CA Museum of Modern Art, New York, NY
Nasher Museum of Art at Duke University, Durham, NC
Ottawa Art Gallery, Ottawa, Canada
Project Row Houses, Houston, TX
Rochester Memorial Art Gallery, Rochester, NY
Solomon R. Guggenheim Museum, New York, NY
Stedelijk Museum voor Actuele Kunst, Ghent, Belgium
Tate Modern, London, UK
Vancouver Art Gallery, Vancouver, Canada
Wadsworth Atheneum Museum of Art, Hartford, CT
Whitney Museum of American Art, New York, NY