Sam Durant
"Laissez faire et laissez passer, le monde va de lui même"
Laissez Faire et Laissez Passer, Le Monde Va de Lui Meme
February 19April 2, 2011
Installation View
curated Drew Heitzler
July 3August 28, 2010
Installation View
This is Freedom?
April 11May 16, 2009
Installation View
October 3November 14, 2009
Pilgrims and Indians, Planting and Reaping, Learning and Teaching
Scenes from the Pilgrim Story: Myths Massacres and Monuments
March 3April 14, 2007
Installation View
Sam Durant, Mark Grotjahn, Evan Holloway, Jason Meadows, Dave Muller, Laura Owens, Jorge Pardo, and Monique Prieto
July 16August 20, 2005
Involved
September 11October 16, 2004
Installation View
September 4October 4, 2003
Return
Color Pictures
October 10November 9, 2002
Proposal for Monument in Friendship Park, Jacksonville, Florida
Proposal for Monument in Friendship Park, Jacksonville, Florida
October 28December 2, 2000
Altamont
Altamont
September 9October 16, 1999
Empty #2
Sam Durant, Bia Gayotto, Daniel Marlos, Hirsch Perlman
December 4, 1997January 10, 1998
MDF, particle board, projection, confusion, grid-like structuring
February 13March 22, 1997
Abandoned House #1
Bas Jan Ader, Rainer Ganahl, Sam Durant, Gillian Wearing
December 3, 1994January 14, 1995
Chair #1
October 14November 22, 1995

SAM DURANT

Born                     
Seattle, Washington 1961 

Education                  
California Institute of the Arts, Valencia, CA, M.F.A.
Massachusetts College of Art, Boston, MA, B.F.A.

Lives and works in Los Angeles, CA

One-Person Exhibitions 

2014
Invisible Surrealists, Paula Cooper, New York, NY                  
Proposal for White and Indian Dead Monument Transpositions, Washington, D.C., Los Angeles County Museum of Art, Los Angeles, CA

2013
Propaganda of the Deed, Database 2nd Edition, Centro Arti Plastiche, Carrara, ItalyLa stessa storia, Museo d’Arte Contemporanea Roma, Rome, Italy
Proposal for Public Fountain, Sadie Coles, London, UK
Scaffold, Jupiter Artland, Edinburgh, Scotland
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, England
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, B.C.
Echoplex Joseph Beuys Ideas/Crash, Fat, Felt, Amerika, Politics, Recovery, Monument, Paula Cooper Gallery, New York, NY
Sadie Coles, London, England

2006                                  
Scenes from the Pilgrim Story: Goodbye Merry Mount, Galleria Emi Fontana, Milan, Italy
Scenes from the Pilgrim Story: Myth, Massacres and Monuments, Massachusetts College of Art, Boston, MA (exh. cat.)

2005                                   
Color Pictures, Catriona Jeffries Gallery, Vancouver, B.C.
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, United Kingdom
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, FLA, 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                                   
Foodhouse, Santa Monica, CA

1992                 
Please Excuse Our Appearance..., Bliss Gallery, Pasadena, CA
Right Now, Richard Green Gallery, Santa Monica, CA

GROUP EXHIBITIONS 

2014
A Perpetual Journey
, Parse Gallery, New Orleans, LA
Pigs and Gold
, The Archer School for Girls, Los Angeles, CAPassions secrètes, Le Tripostal, Lille, France
Da Cartografia do Poder aos Itinerários do Saber, Museu Afro Brasil, São Paolo, Brasil
Illustrating Anarchy and Revolution
, Mexic-Arte Museum, Austin, TX
Border Cultures: Part 2 (Work, Labour), Art Gallery of Windsor, Ontario, Canada
Mound City, Laumeier Sculpture Park, St. Louis, MO

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 DC
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

2012
Eight Sculptors 2012
, Paula Cooper, New York, NY
Only Parts of Us Will Ever Touch Parts of Others, Galerie Thaddaeus Ropac, Paris                
dOCUMENTA (13), Karlsaue Park, Kassel, Germany
Sweethearts: Artist Couples, Pippy Houldsworth Gallery, London
Collage, Galerie Thaddaeus Ropac, Paris 
Shake and Bake, Praz-Delavallade, Paris
The Living Years: Art after 1989, Walker Art Center, Minneapolis, MN
Da Cartografia do Poder aos Itineráros do Saber, National Museum of Brasilia, Rio de Janeiro

2011                  
Da Cartografia do Poder aos Itineráros do Saber, Museum of Science, University of Coimbra, Coimbra, Portugal
Mass Distraction & Cultural Decay, Mason Gross Galleries, Rutgers, New Brunswick, NJ
I Am Still Alive: Politics and Everyday Life in Contemporary Drawing, Museum of Modern Art, NY
The Walls That Divide Us, Apexart, New York, NY
The Air We Breathe, 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
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

2010                 
The Artist’s Museum: L.A. Artists 1980-2010, Museum of Contemporary Art, Los Angeles
Inquiring Eyes: Greensboro Collects Art, Weatherspoon Art Museum, Greensboro, NC
XIV International Sculpture Biennale of Carrara, Carrara, Italy.
11th Triennale für Kleinplastik (Triennial of small scale sculpture), Fellbach, Germany
Contemplating the Void, Guggenheim Museum, New York, NY
First Nations / Second Nature, Audain Teaching 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
Earthworks: Robert Smithson, Sam Durant, and Mary Brogger, Museum of Contemporary Art, Chicago, IL

2009                 
Collection: MOCA’s First 30 Years, Museum of Contemporary Art, Los Angeles
Inaugural Group Exhibition, Blum & Poe, Los Angeles
Commentary, Paula Cooper Gallery, New York
1999, China Art Objects, Los Angeles
Loaded, Catriona Jeffries Gallery, Vancouver, BC, Canada
Destroy Design, FRAC Nord-Pas de Calais, curated by Hilde Teerlinck (exh. cat.)
Regift, Swiss Institute Contemporary Art, New York, curated by John Miller.
Rock – Paper – Scissors, Pop Music as a Material for Visual Art, Kunsthaus Graz, Austria.
The Old, Weird America, DeCordova Museum, Lincoln, MA; Frye Art Museum, Seattle, WA. Curated by Toby Camps (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, Sheila C. Johnson Design Center, organized by Parsons The New School for Design and the Vera List Center for Art and Politics, New York, NY
Crossroads: Interfaces between rock and contemporary art, Domus Artium Museum / Center  of Contemporary Art of Salamanca, Spain
California Biennial, Orange County Museum of Art, Orange County, CA
Index: Conceptualism in California from the Permanent Collection, Museum of Contemporary Art, Los Angeles, CA
Proyecto civico / Civic Project, CECUT, Centro Cultural Tijuana, Mexico
8 Bienal de Arte de Panamá, 8th Panama Biennial, Panama
Biennale of Sydney, Sydney, Australia
Close Encounters, American University Museum, Katzen Arts Center, Washington, DC
Freedom, Stichting Den Haag Sculptuur, The Hague, Netherlands
Ohio, Gahlberg Gallery, College of DuPage, curated by Brad Killam and Barb Wiesen
Peripheral vision and collective body, MUSEION, 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 (ehb. cat)
The Art of the Real, 10 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, travels to the Maryland Institute College of Art, Baltimore, MD
Darling, take Fountain, Kalfayan Galleries, Athens, Greece
Demolition, at Engholm Engelhorn Galerie, Vienna, Austria
Memorial to the Iraq War, Institute of Contemporary Arts, London. (exh. cat.)
MOCA Benefit Auction, Los Angeles, CA
Modelers and Makers: Works in Ceramic, Gladstone Gallery, New York 
Panic Room - Works from The Dakis Joannou Collection, Deste Foundation
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 of Contemporary Art, New York, NY
Words Fail Me, MoCAD, Detroit, Michigan, curated by Matthew Higgs

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, CAL State University Long Beach, Longbeach, CA (exh. cat.)
Touch of Evil, Estacion Tijuana, Tijuana, Mexico
Think Blue, Blum & Poe, Los Angeles
En/Of, Museum Kurhaus Kleve, Kleve, Germany (exh. cat.)
Post No Bills, White Columns, New York, NY
Faces in the Crowd -- Picturing Modern Life from Manet to Today, 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 2005
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, United Kingdom (exh. cat.)
Communaute, Institut d’Art Contemporain Villeurbanne, Lyon, France
Raume, Hausler Contemporary, Munchen, Germany
100 Artists See God (2004-2006), organized and circulated by iCI (Independent Curators International), New York. Traveled to: The Contemporary Jewish Museum, San Francisco, CA; Laguna Art Museum, Laguna, CA; Institute of Contemporary Arts, London; Contemporary Art Center of Virginia, Virginia Beach; Albright College Freedman Art Gallery, Reading, PA; and Cheekwood 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, The Glassell School of Art of the Museum of Fine Arts, Houston, TX
Faces in the Crowd, Whitechapel, London, United Kingdom (travels to Castello di Rivoli d’ Arte Contemporanea, Rivoli, 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 (traveling) (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, Los Angeles, CA (curated by Jacob Fabricius) (exh. cat.)
A Country Lane: Sam Durant, Tobias Hauser, Richard Hoeck, John Miller, Kerstin Engholm Galerie, Vienna, Austria
Air Guitar: Art Reconsidering Rock Music, Milton Keynes Gallery, United Kingdom (curated by Emma Mahony) (travels to Cornerhouse, Manchester Angel Row, Nottingham/Tullie House, Carlise, United Kingdom)
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 the Samuel P. Harn Museum of Art at the University of Florida) (exh. cat.)
Prophets of Boom: Werke aus der Sammlung Schurmann, Kunsthalle Baden-Baden, Baden-Baden, Switzerland (exh. cat.)
Rock My World, CCAC, 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, United Kingdom (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, Nikolaj Copenhagen Contemporary Art Center, 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, CCAC Institute, 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, New York, NY
ForwArt, L’Espace Cultural BBL, Brussels, Belgium (exh. cat.)
D, Sandra Gering Gallery, New York, NY
00: Drawings 2000, Barbara Gladstone Gallery, New York, NY (exh. cat.)}
LAEX, Ileana Tounta, Athens, Greece

1999                 
What Your Children Should Know About Conceptualism, Neueraachenerkunst- verein, 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, Germany (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, Barnsdall 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 (travels to Jason & Rhodes, London, England & 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, United Kingdom (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 Bethanian, Berlin, Germany and Ruth Bloom Gallery, Santa Monica, CA
FOODHOUSE visits the Art Store, West Los Angeles, CA
Thank You, FOODHOUSE, 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, LA Art Fair, Los Angeles, CA
4 Person Show, Parker Zanic Gallery, Los Angeles, CA
The Absentbury Show, Bliss Annex, Pasadena, CA
Art Center, Pasadena, CA

BIBLIOGRAPHY

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.
Murray, Laura J., S. Tina Piper, and Kirsty Robertson. Putting Intellectual Property in Its Place. New York: Oxford University Press, 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
Artists & Editions. San Francisco: Rite Editions, 2013.

Mizota, Sharon. "Sam Durant's Social Media Movement: What #isamuseum?" KCET.com, July 12, 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-...

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                 
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, ed. 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.
Sam Durant: Porcelain Chairs.” O.K. Periodicals 6 (2011): 74-75.

2010                 
Decter, Jushua. “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 vol. 69, no.3, Fall 2010.

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.
Dersken, Jeff. The Poetics of Bad History. Vancouver: CJ Press, 2007.
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.
Grayson, Kathy, ed. Panic Room: Selections from the Dakis Joannou Works on Paper Collection. July 2007, 34.
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. 
Contemporary Art Exhibition, Busan Biennale 2006, Tale of Two Cities: Busan-Seoul/Seoul-Busan, Korea: Artbooks Publishing Corp., 2006, 84-85.                                   
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.
Coles, Alex. Design Art, London: Tate Publishing, London, 2005, 116-17.
Honour, Hugh and John Fleming. A World History of Art. 7th ed. London: Laurence King, 2005, 903.
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.
Scott, Andrea. Vitamin D: New Perspectives in Drawing, London: Phaidon, 2005, 86-89.
“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                  
Baldessari, John and Meg Cranston. 100 Artists See God, Independent Curators International, New York, 17.
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.
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.
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.
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.
Sam Durant: Entropy in Reverse. New Plymouth, New Zealand: Govett-Brewster Art Gallery, 2004.
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.
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.
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.
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.
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                                   
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, 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.
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. 
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.                  
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.
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

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                 
Text on the Double Woodshed.” Prophets of Boom: Werke aus der Sammlung Schürmann. Baden-Baden, Switzerland: Kunsthalle Baden-Baden, Summer 2002, 154.
“Roots.” V Magazine, November-December 2002.
“Top Ten.” Artforum 41, no. 3 (November 2002): 71.                                  

2001                                   
Saving Graces.” Artforum 39, no. 9 (May 2001): 151-52.  

Curatorial Projects

2009                                   
Black Panther: The Revolutionary Art of Emory Douglas, The New Museum, New York
The Permanent Record of Newjack_Rasputin, Tucker Stilley,
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. 

2007                                   
Black Panther: The Revolutionary Art of Emory Douglas, MOCA

2006                 
Eat the Market, Los Angeles Contemporary Museum of Art

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)

 

Conferences and Panel Discussions

2009                  
Workshop: Art and Community Engagement, with Transforma Collective (with Rick Lowe and Jessica Cusic), UCLA Hammer Museum, Los Angeles.

2008                 
Word: Spoken, Snug, Seen, Biennale of Sydney, Sydney, Australia
Parsons New School for Social Research, New York
Proyecto Cívico, Centro Cultural Tijuana, Baja, Mexico
Artists and Activists, Orange County Museum of Art, Newport Beach, CA
University of Southern California, Los Angeles (with Rick Lowe)
In Dialogue with Emory Douglas, San Francisco Art Institute, CA.

2007                 
This Must Be The Place, Smithsonian National Museum of the American Indian, Venice Biennale, Venice, Italy
Eat the Market, Los Angeles County Museum of Art.  Los Angeles, CA.
Black Panther Rank and File, Maryland Institute College of Art, Baltimore, MD.

2006                                   
Institutional Critique, Yale University, New Haven, CT

2005                                   
InSite, University of California, San Diego, CA

2004                                   
NAFTA, Museum of Contemporary Art, San Diego, CA
War! Protest In America, 1965-2004, REDCAT/CalArts Theater, Los Angeles, CA

2001                                   
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)

 

Public Collections

Art Gallery of Western Australia, Perth, Western Australia
Berkeley Art Museum, Berkeley, CA
The Ottawa Art Gallery, Ottawa, Canada
The Museum of Contemporary Art, Los Angeles, CA
Institut d’Art Contemporain Villeurbanne, Lyon, France
Wadsworth Atheneum Museum of Art, Hartford, CT
Walker Art Center, Minneapolis, MN
Fonds National d’Art Contemporain, Paris, France
Stedelijk Museum voor Actuele Kunst, Ghent, Belgium
Whitney Museum of American Art, New York, NY
Project Row Houses, Houston, TX
Guggenheim Museum, New York, NY
Tate Modern, London, England
Hammer Museum, Los Angeles, CA (promised gift)
Museum of Contemporary Art, Chicago, IL
The Museum of Contemporary Art, San Diego, CA
Museum of Modern Art, New York, NY

 

Public Commissions

2005                                   
Public Prosecutors’ Office, City of Arnhem, the Netherlands

2003                                   
Project Row Houses, Houston, TX
Walker Art Center, Minneapolis, MN

 

Grants and Awards

2008                                   
Hugo Boss Finalist, Solomon R.  Guggenheim Foundation and Hugo Boss Prize, New York
Smithsonian Artist Research Fellow, Smithsonian Institution, Washington, D.C.

2006                                   
United States Artists Fellow, USA Foundation, New York

2005                                   
The Ordway Prize Finalist, Penny McCall Foundation, New York

2002-2003                 
Walker Art Center Artist in Residence, Minneapolis, MN

1999                                   
Individual Artist Grant, Department of Cultural Affairs, City of Los Angeles

 

Other Projects 

2013
What #isamuseum?, J. Paul Getty Museum, Los Angeles, CA

2007                 
Founding member of transforma Projects, a cultural rebuilding collective in New Orleans

2006                                   
Harlem Postcards Summer 2006, Studio Museum Harlem, New York

2005                 
The Other Side/ El Otro Lado (Regionalism, Nationalism, Imperialism), artist multiple, Chinati Foundation, Marfa, Texas

                                          

Ketchum-Heap of Birds, Shanna. On Legitimizing the Body Politic: America’s Founding Myth Reconsidered, Sam Durant: Scenes from the Pilgrim Story: Myths, Massacres and Monuments. Boston, MA: Massachusetts College of Art, 2007, pg 12-25
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