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Guy Richards Smit Biography
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Lives and works in New York
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MAT Charitable Foundation Grant 2003
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Penny McCall Foundation Grant 2002
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2007 |
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Roebling Hall, New York, NY (solo) |
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2007 |
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Fred [London] Ltd., London, UK (solo) |
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2007 |
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The Weasel: Pop Music and Contemporary Art, South London Gallery, London, UK |
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2007 |
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Cesi N’est Pas…, curated by Rachel Gugelberger and Jeffrey Walkowiak, Sara Meltzer Gallery, NY |
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2007 |
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Idiot Joy Showland , curated by John Pilson, IFC , New York, NY |
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2006 |
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QED, Los Angeles, CA (solo) |
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2005 |
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Fred [London] Ltd., London, UK (solo) |
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2005 |
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Nausea 2, Sketch, London, UK (solo) |
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2005 |
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Nausea 2, Roebling Hall, New York, NY (solo) |
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2005 |
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Nausea 2 (exhibition and screening), Indiana Museum of Contemporary Art, Indianapolis, USA (solo) |
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2005 |
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Predatory Dating on the Crosstown Bus (curated by Guy Richards Smit), Champion, Los Angeles, CA |
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2005 |
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International Painting on Paper, GBK Gallery, Sydney, Australia |
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2004 |
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Me, Myself & I, Schmidt Gallery, Florida Atlantic University, Boca Raton, Florida |
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2004 |
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Me, Myself & I: Video Remix, The Living Room, Miami, Florida |
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2004 |
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Bush League, Roebling Hall, Brooklyn, New York |
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2004 |
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What's Love Got To Do With It?, Tucson Museum of Art, Arizona |
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2004 |
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I’ve Met Someone Else, Monya Rowe Gallery, New York City, New York |
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2004 |
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Nausea 2 (screening), Premier Series, Museum of Modern Art, New York (solo) |
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2004 |
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Here Comes Maxi, G-Module, Paris, France (solo) |
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2004 |
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Music/Video, Bronx Museum of Art, Bronx, New York |
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2003 |
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Terrible Beauty, Satellite (a Division of Roebling Hall),Manhattan, New York |
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2003 |
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B-List: Brooklyn, Angst and Desire, Hallwalls, Buffalo, New York |
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2003 |
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Aeroplastics, Brussels, Belgium (solo) |
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2003 |
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A Message to my Audience, Satellite (a division of Roebling Hall), Manhattan, New York (solo) |
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2002 |
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MOMA Media Scope, Museum of Modern Art, NY (solo) |
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2002 |
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Angstrom Gallery, Dallas, Texas (solo) |
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2002 |
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Team Gallery, New York, New York (solo) |
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2002 |
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4 Brooklyn Artists, Filles du Calvaire, Paris, France |
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2002 |
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Wonderland, Aeroplastics, Brussels, Belgium |
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2002 |
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Not Quite Myself Today, ASU Art Museum, Tempe, Arizona |
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2001 |
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Crossing the Line, Queens Museum of Art, New York |
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2001 |
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The Artist’s World, CCAC Institute, Oakland, California |
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2001 |
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Brooklyn!, Palm Beach Institute of Contemporary Art, Lakewood, Florida |
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2001 |
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Video Jam, Palm Beach Institute of Contemporary Art, Lakewood, Florida |
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2001 |
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I’m Mean Because I Like You, Voorkamer, Lier, Belgium (solo) |
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2001 |
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Nylon Gallery, London, England (solo) |
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2000 |
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The Ballad of Bad Orpheus, Roebling Hall, Brooklyn, NY (solo) |
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2000 |
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I’m Mean Because I Like You, Sara Meltzer, New York, NY (solo) |
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2000 |
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Havana Biennial, Official Video Selection, Havana, Cuba (solo) |
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2000 |
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Four From Brooklyn, Legion Arts, Cedar Rapids, Iowa |
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2000 |
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Useful Indiscretions: (Works on Paper), Geoffrey Young Gallery, GT. Barrington, MA |
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2000 |
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Tomorrow, curated by Andréa Salerno and Mari Spirito, Rare Gallery, NYC |
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1999 |
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Out of Order, Roebling Hall, Brooklyn, NY |
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1999 |
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Cutting the Edge: New Film and Video, curated by Susan Joyce, Grand |
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1999 |
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Central Art Center, Santa Ana, CA |
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1999 |
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I’m the Boss of Myself, curated by Sara Meltzer, essay by Amy Cappellazo, Sara Meltzer’s On View…, New York, NY |
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1999 |
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I’m A Virgin, curated by Esther Windsor, The Waiting Room, Wolverhampton, UK |
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1999 |
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Zones of Risibility, curated by Carrie Cooperider, Rotunda Gallery, Brooklyn, NY |
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1999 |
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Blueprint, curated by Sebastian Bremer, Gallery Spark, New York, NY |
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1998 |
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BOWIE, Rupert Goldsworthy Gallery, New York, NY |
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1998 |
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Not Four Walls, The Anchorage, New York, NY |
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1998 |
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More Elvis Than Elvis, Video Room Festival, New York, NY |
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1998 |
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HOST, curated by Peter Lewis and Peter Fillingham, Tramway, Glasgow, UK |
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1998 |
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Super Freaks: Post Pop & the New Generation Part 1 – Trash, Greene Naftali, NY, NY |
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1997 |
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Double Life, curated by Esther Windsor, The Waiting Room, Wolverhapton, UK |
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1997 |
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WhimSiecle, Peggy Guggenheim Collection, Venice, Italy |
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1997 |
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A Home Show: Sitting Up Erect or Reclining, curated by Mary Goldman, Berlin, Germany |
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1997 |
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Big Blue, curated by Francesca Ferguson, Berlin, Germany |
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1997 |
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Don’t Try This At Home, Performance Videos at The Knitting Factory Video Factory, NY |
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1997 |
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It’s a Wonderful World, curated by Lithgow Osborne, Unfinished Gallery, Brooklyn, NY |
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1996 |
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Unfinished Gallery Inaugural Show |
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1996 |
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Unfinished Gallery, Brooklyn, NY |
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1996 |
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Album 2, curated by Sebastian Bremer, 470 Broadway, New York, NY |
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1995 |
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Thicket on the Lamb, Thicket Gallery, New York, NY |
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1995 |
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Album, curated by Sebastian Bremer |
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1995 |
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10 New York Artists, Nova Zemia Gallery, Den Bosch, Netherlands |
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1995 |
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Thicket Gallery, New York, NY (solo) |
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2004 |
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“Stepping Out of Character and into His Art,” Blake Gopnik, Washington Post, December 5 |
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2004 |
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Designers’ Workshop (Japan), June |
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2004 |
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“Guy Richards Smit” The Brooklyn Rail |
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2003 |
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“Top Ten,” Guy Richards Smit, Artforum, May |
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2003 |
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“Top Ten,” Guy Richards Smit, Artforum, May |
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2003 |
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“Here’s The Funny Thing About Brooklyn” (“B-List” catalog essay), David Kramer |
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2002 |
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“Guy Richards Smit,” Meghan Dailey, Artforum, April |
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2002 |
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“Guy Richards Smit Is…,” David Hunt, Artext, January |
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2001 |
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“Screen Savers,” Jerry Saltz, The Village Voice, July 31 |
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2001 |
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“The Artist’s World” (“The Artist’s World” catalog essay), Ralph Rugoff |
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2001 |
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“Artnet News,” Giovanni Garcia-Fenech, Artnet Magazine, February 5 |
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2001 |
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“Brooklyn Spice,” Giovanni Garcia-Fenech, Artnet Magazine, January 5 |
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2000 |
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“Greetings Friends,” Charlie Finch, Artnet Magazine, December 22 |
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2000 |
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“For Hikers Seeking Art, Brooklyn Is a Left Bank,” Holland Cotter, The New York Times, December 15 |
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2000 |
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“High Art,” Steve Garbarino, Details, December |
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2000 |
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“Metamorphosis In Chelsea,” Charlie Finch, Artnet Magazine, August 11 |
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2000 |
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“Gotham Dispatch,” Max Henry, Artnet Magazine, July 17 |
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2000 |
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“Swiss Bliss,” Jery Saltz, The Village Voice, April 25 |
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2000 |
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“Artburger,” Susan Hamburger, Waterfront Week, April 6 |
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2000 |
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“Guy Richards Smit,” Roberta Smith, The New York Times, March 31 |
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2000 |
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“Gotham Dispatch,” Max Henry, Artnet Magazine, March 27 |
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