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Slater Bradley (American, 1975)
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Slater Bradley
Ghost 2001
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Biography |
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1975 |
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Born in San Francisco, USA |
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1996 |
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UCLA Two year Lillian Levenson Scholarship, USA |
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1996 |
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UCLA President's Undergraduate Fellowship, USA |
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1998 |
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BA, University of California, Los Angeles, USA |
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1998 |
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UCLA Art Council Grant, USA |
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2005 |
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The Louis Comfort Tiffany Foundation Award in Video, USA |
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Lives and works in New York, USA |
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The Solomon R. Guggenheim Museum, New York, USA |
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Exhibitions |
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2010 |
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Herbert F. Johnson Museum of Art, Cornell University, Ithaca, NY, USA (forthcoming) (solo) |
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2009 |
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Team Gallery, New York (with Ed Lachman, forthcoming, Fall) (solo) |
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2009 |
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Max Wigram Gallery, London (with Ed Lachman, forthcoming, May)(solo) |
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2009 |
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Frans Hals Museum, Haarlem, The Netherlands (forthcoming, March)(solo) |
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2009 |
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Videowork from the Guggenheim Collections, Guggenheim Museum, Bilbao, Spain |
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2008 |
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The Ghost in the Machine (curated by Elisabeth Byre and Susanne Sather), Kunstnernes Hus, Oslo, Norway |
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2008 |
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VOLUME(S) (curated by Marc Clement and Kevin Muhlen), Casino Luxembourg, Luxembourg |
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2008 |
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The object is in the mirror part II, (curated by Max Henry), Wilkinson Gallery, London, UK |
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2008 |
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Taka Ishii Gallery, Tokyo (September) (solo) |
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2008 |
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Frans Hals Museum, Haarlem, The Netherlands (September) (solo) |
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2007 |
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The object is the mirror, Layr Wuestenhagen Contemporary, Vienna, Austria |
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2007 |
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The Present Order is the Disorder of the Future, Frans Hals Museum, Haarlem, The Netherlands |
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2007 |
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Stop, Look and Listen, Herbert F. Johnson Museum of Art, Cornell University, Ithaca |
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2007 |
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Sympathy for the Devil: Art and Rock and Roll since 1967, Museum of Contemporary Art, Chicagp |
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2007 |
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Sweet Bird of Youth, Arndt & Partner, Berlin, Germany |
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2007 |
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Noise, TH Inside, Milan, Italy |
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2007 |
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Blum & Poe, Los Angeles, USA (solo) |
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2007 |
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Max Wigram Gallery, London (September), (solo) |
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2007 |
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Galeria Helga de Alvear, Madrid, (solo) |
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2007 |
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Contemporary Art Museum, St. Louis, MO, USA, (solo) |
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2007 |
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The Armory Show (under the auspices of Team), New York, USA, (solo) |
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2007 |
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Warhol's Lesson, DOX, Prague, Czech Republic (forthcoming Oct, curated by Jaroslav Andel) |
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2006 |
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I love MY Scene: Part 2, Mary Boone Gallery, New York, USA |
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2006 |
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Human Game Winners and Losers, Fondazione Pitti, Florence, Italy |
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2006 |
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Full House - Gesichter einer Sammlung, Kunsthalle Mannheim, Mannheim, Germany |
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2006 |
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Belief and Doubt, Aspen Art Museum, Aspen, USA |
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2006 |
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Youth of Today, Schirn Kunsthalle, Frankfurt a/M, Germany |
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2006 |
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People, Madre Modern Art Museum, Naples, Italy |
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2006 |
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Boisterous, Anderson Gallery, Copenhagen, Denmark |
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2006 |
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Setting The Scene, Discoteca di Stato museo dell� Audiovisivo Auditorium, Rome, Italy |
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2006 |
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Open House, Ellipse Foundation, Cascais, Portugal, |
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2006 |
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Kunsthalle Mannheim, Mannheim, Germany, (solo) |
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2006 |
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Team Gallery, New York, USA, (solo) |
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2006 |
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In A Mixed State, Max Wigram Gallery, London, UK, (solo) |
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2006 |
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Young at Heart, Galeria Presenca, Portugal |
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2006 |
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Busan Biennale, Busan Museum of Modern Art, Busen, Korea |
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2006 |
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Smoke and Mirrors: Deception in Contemporary Art, University of Alabama Visual Arts |
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2006 |
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Gallery, Birmingham, UK |
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2006 |
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Setting the Scene, curated by Adrienne Drake, Discoteca di Stato Museo dell�Audiovisivo Auditorium, Rome, Italy |
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2006 |
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Youth of Today, curated by Matthias Ulrich, Schirn Kunsthalle Frankfurt, Frankfurt, Germany |
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2006 |
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I Love My Scene: Scene 2, curated by Jos� Freire, Mary Boone Gallery, New York |
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2006 |
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Open House, curated by Alexandre Melo, Ellipse Foundation, Cascais, Portugal |
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2006 |
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Young at Heart, curated by Alexandre Melo, Galeria Presenca, Portugal |
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2006 |
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Busan Biennale , Busan Museum of Modern Art, Busan, Korea |
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2006 |
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Belief and Doubt, curated by Heidi Zuckerman Jacobsen, Aspen Art Museum, Aspen, CO |
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2006 |
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People, curated by Eduardo Cicelyn and Mario Codagnato, Madre Modern Art Museum, Naples, Italy |
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2006 |
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Boisterous, Andersen Gallery, Copenhagen, Denmark |
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2006 |
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Full House, Kunsthalle Mannheim, Mannheim, Germany |
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2006 |
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Figures of the Player, the Paradox of the Actor, Collection Lambert, Avignon, France |
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2006 |
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Human Game, Winners and Losers, curated by Francesco Bonami, Pitti Foundation, Florence, Italy |
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2006 |
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Smoke and Mirrors: Deception in Contemporary Art, University of Alabama Visual Arts Gallery, Birmingham, AL |
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2005 |
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The Gravity in Art, curated by Theo Tegelaers and Rene Daalder, De Appel Foundation, Amsterdam, The Netherlands |
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2005 |
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Le Studio: Slater Bradley, Yvon Lambert, Paris, France |
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2005 |
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Superstars-The Principle of Renown, curated by Thomas Mie�gang, Heike Eipeldauer, Florian Steininger, Kunsthalle Wien, Vienna, Austria, traveling to Kunsthallen Brandts, Odense, Denmark, DA2: Domus Artium 2002, Salamanca, Spain |
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2005 |
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3 or 4 Stories, Estudio Helga de Alvear, Madrid, Spain |
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2005 |
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Star Star, Contemporary Arts Center, Cincinnati, Ohio |
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2005 |
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Video II: Allegorie, NRW-Forum Kultur und Wirtschaft, Dusseldorf, Germany |
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2005 |
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Downstrokes and Feedback, curated by Lisa Schiff, Allston Skirt Gallery, Boston, MA |
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2005 |
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video-musica-video, curated by Bob Nickas, Museo Reina Sofia, Madrid, Spain |
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2005 |
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La Collection D' Enea Rich, Collection Lambert, Avignon, France |
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2005 |
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Uncharted Settlements, Taka Ishii Gallery, Tokyo, Japan, (solo) |
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2005 |
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Intermission, Galerie Lisa Ruyter, Vienna, Austria, (solo) |
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2005 |
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Lifetime Achievement Award, Savannah College of Art and Design, Savannah, Georgia, (solo) |
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2005 |
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Recent Acquisitions: Slater Bradley's Doppelganger Trilogy, The Solomon R. Guggenheim Museum, New York, USA, (solo) |
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2005 |
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MATRIX 216: Slater Bradley / The Year of the Doppelganger, UC Berkeley Art Museum and Pacific Film Archive, Berkeley, USA, (solo) |
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2005 |
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The Gravity of Art, De Appel Foundation, Amsterdam, The Netherlands |
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2005 |
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Superstars � The Principle of Renown, Kunsthalle Wien, Vienna, Austria |
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2005 |
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3 or 4 Stories, Estudio Helga de Alvear, Madrid, Spain |
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2005 |
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Star Star, Contemporary Arts Center, Cincinnati, USA |
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2005 |
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Downstrokes and Feedback, Allston Skirt Gallery, Boston, USA |
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2005 |
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Bridge Freezes Before Road, Barbara Gladstone Gallery, New York, USA |
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2005 |
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NRW-Forum Kultur und Wirtschaft, D�sseldorf, Germany |
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2005 |
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La Collection D� Enea Rich, Collection Lambert, Avignon, France |
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2005 |
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Le Studio: Slater Bradley, Yvon Lambert, Paris, France |
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2005 |
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Superstars � The Principle of Renown, Kunsthalle Wien, Vienna, Austria |
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2005 |
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The Monty Hall Problem, Blum & Poe, Los Angeles |
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2004 |
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I, Assassin, Wallspace Gallery, New York, USA |
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2004 |
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STONED & DETHRONED, Team Gallery, New York, USA, (solo) |
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2004 |
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The Doppelganger Trilogy, Blum & Poe, Los Angeles, USA, (solo) |
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2004 |
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The Whitney Biennial, The Whitney Museum of American Art, New York, USA (cat.) |
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2004 |
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Premieres The Museum of Modern Art, New York, USA |
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2004 |
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Motion Stills, Savannah College of Art and Design, Atlanta, USA |
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2004 |
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Harlem Postcards, Studio Museum in Harlem, New York, USA |
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2004 |
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Stalemate, Museum of Contemporary Art, Chicago, USA |
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2004 |
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Unlightment, Galerie Nationale du Jeu de Paume, Paris, France |
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2004 |
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The Yugoslav Biennial, Museum of Contemporary Art, Belgrade, Serbia and Montenegro (cat.) |
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2004 |
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The Rose Garden Without Thorns, Galerie Lisa Ruyter, Vienna, Austria |
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2004 |
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Playlist, Palais de Tokyo, Paris (cat.) |
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2004 |
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I Feel Mysterious Today , Institute of Contemporary Art, Palm Beach, FL, USA |
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2004 |
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A Very Liquid Heaven , The Tang Museum, Saratoga Springs, NY, USA (cat) |
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2004 |
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Me, Myself and I , University Galleries, Florida Atlantic University, Boca Raton, FL, USA |
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2004 |
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Will Boys Be Boys? Questioning Masculinity in Contemporary Art, The Salina Art Center, |
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2004 |
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The Herbert F. Johnson Museum of Art, Cornell University, Ithaca; The Indianapolis Museum of Art, IN; with cat.) |
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2004 |
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Museum of Contemporary Art, Denver, CO; The Herbert F. Johnson |
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2004 |
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Museum of Art, Cornell University, Ithaca, NY; The Indianapolis Museum of Art, IN) |
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2004 |
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Music/Video , Bronx Museum of Art, Bronx, NY, USA |
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2004 |
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Melody, Blonde Redhead, 4AD Conquistadors (who took their share), Whitney Museum of American Art, Whitney Gala |
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2004 |
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The Animals, Art for Art�s Sake |
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2004 |
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Premieres, The Museum of Modern Art, New York, NY |
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2004 |
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I Feel Mysterious Today, curated by Dominic Molon, Institute of Contemporary Art, Palm Beach, FL |
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2004 |
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Me, Myself and I, curated by Paul Laster and Renee Riccardo, University Galleries, Florida Atlantic University, Boca Raton, FL |
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2004 |
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A Very Liquid Heaven, The Tang Museum, Saratoga Springs, NY |
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2004 |
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Will Boys Be Boys?: Questioning Masculinity in Contemporary Art, curated by Shamim M. Momin, The Salina Art Center, Salina, KS, traveling to Museum of Contemporary Art, Denver, CO; The Herbert F. Johnson Museum of Art, Cornell University, Ithaca, NY; Gulf Coast Museum of Art, Largo, FL, The Indianapolis Museum of Art, IN |
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2004 |
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Music/Video, Bronx Museum of Art, Bronx, NY |
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2004 |
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Motion Stills, Savannah College of Art and Design, Atlanta, GA |
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2004 |
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Harlem Postcards, Studio Museum in Harlem, New York, NY |
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2004 |
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Stalemate, Museum of Contemporary Art, Chicago, IL |
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2004 |
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Unlightment, Galerie Nationale du Jeu de Paume, Paris |
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2004 |
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The Yugoslav Biennial, Museum of Contemporary Art, Belgrade, Serbia and Montenegro |
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2004 |
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The Rose Garden Without Thorns, Galerie Lisa Ruyter, Vienna, Austria |
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2004 |
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Portraits, Esso Gallery, New York, NY |
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2004 |
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The Whitney Biennial, The Whitney Museum of American Art, New York, NY |
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2004 |
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Playlist, Palais de Tokyo, Paris |
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2004 |
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When Darkness Falls, curated by Melanie Schiff and Kirsten Van Deventer, traveled to Midway, Saint Paul, Minnesota, Gallery 400, University of Illinois, Chicago, Illinois |
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2004 |
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An Enquiry into those Kinds of Distress which excite, Team Gallery, New York, NY |
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2004 |
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Inaugural Show, New Space, Blum & Poe, Los Angeles, CA |
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2003 |
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from the flat files, curated by Brian Butler and Amada Cruz, Ramp Gallery, Wakaito Institute of Technology, Hamilton, New Zealand, |
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2003 |
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Study, Taka Ishii Gallery, Tokyo |
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2003 |
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What am I doing Here?, ESSO Gallery, New York, NY |
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2003 |
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Then The World Would Be Upside Down, curated by Randy Moore, Tina Kim Projects, New York, NY |
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2003 |
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Country Mouse, City Mouse, curated by David Hunt, Space 101, Brooklyn, NY |
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2003 |
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I See a Darkness, Blum & Poe, Santa Monica, CA |
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2003 |
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The Fourth Sex: The Extreme People of Adolescence, curated by Francesco Bonami and Raf Simons, Fondazione Pitti Immagine, Florence, Italy, |
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2003 |
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Someone to Watch Over Me, curated by Thomas Peutz and Una Henry, Smart Project Space, Amsterdam, Netherlands |
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2003 |
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An Enquiry into those Kinds of Distress, Team Gallery, New York, USA |
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2003 |
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from the flat files, Ramp Gallery, Wakaito Institute of Technology, Hamilton, New Zealand |
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2003 |
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Study, Taka Ishii Gallery, Tokyo, Japan |
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2003 |
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Nobody Gives a Fuck What You Go Do With Your Life, MW projects, London, UK, (solo) |
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2003 |
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Center for Curatorial Studies Museum, Bard College, New York, USA (cat.), (solo) |
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2003 |
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Country Mouse, City Mouse (curated by David Hunt), Space 101, NY, USA |
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2003 |
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I See a Darkness, Blum + Poe, Santa Monica, USA |
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2003 |
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The Fourth Sex: The Extreme People of Adolescence (curated by Francesco Bonami and Ralf Simons), Fondazione Pitti Immagine, Florence, Italy |
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2003 |
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Someone to Watch Over Me, Smart Project Space, Amsterdam, Netherlands |
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2003 |
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When Darkness Falls, Gallery 400, University of Illinois, Chicago, USA |
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2003 |
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Inaugural Show, New Space, Blum & Poe, Los Angels, USA |
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2003 |
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What am I doing Here? Esso Gallery, New York, USA |
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2003 |
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Then The World Would Be Upside Down, Tina Kim Project, New York, USA |
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2003 |
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Country Mouse, City Mouse, Space 101, Brooklyn, New York, USA |
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2002 |
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Here are the Young Men, Team Gallery, New York, USA, (solo) |
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2002 |
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The Armory Photography Show, Team Gallery, New York, USA, (solo) |
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2002 |
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Universit�tsstadt Kaiserslautern, Kaiserslautern, Germany, (solo) |
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2002 |
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Art + Public, Geneva, Switzerland, (solo) |
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2002 |
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Keys in the Mailbox, Arndt & Partner, Berlin, Germany, (solo) |
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2002 |
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The Passing: Slater Bradley, Matt Collishaw, Christian Marclay, Galeria Helga de Alvear, Madrid, Spain |
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2002 |
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Nuit Blanche: plus qu'une image (curated by Caroline Bourgeois), Anciennes Pompes Funebres de la Ville de Paris, Paris, France |
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2002 |
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Music/Video, Mus�e d'Art Moderne et Contemporain, Strasbourg, France |
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2002 |
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Slater Bradley, Mark Leckey, John Williams, Low, Los Angeles, USA |
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2002 |
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International Contemporary and Emerging Art, Lawson_Menzies Flynn, Sydney, Australia |
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2002 |
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The Standard Projection #3 (curated by Yvonne Force), The Standard, Los Angeles, USA |
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2002 |
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Burst, Team Gallery, New York, NY, USA |
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2002 |
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Dark Spring (curated by Nicolaus Schafhausen and Liam Gillick), Ursula Blickle Stiftung, Kraichtal, Germany (cat.) |
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2002 |
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Art Unlimited, Art | 33 | Basel, Basel, Switzerlad |
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2002 |
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Les Enfants du Paradis, Galerie Yvon Lambert, Paris, France |
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2002 |
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Photographier, Collection Lambert en Avignon, Avignon, France |
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2002 |
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Copy, Roth horowitz Gallery, New York, USA |
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2002 |
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I�m Miserable Now, Low, Los Angels, USA |
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2002 |
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The Passing: Slater Bradley, Matt Collishaw, Christian Marclay, curated by Charlotte Schepke, Galeria Helga de Alvear, Madrid, Spain |
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2002 |
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Nuit Blanche: plus qu'une image, curated by Caroline Bourgeois, Aux Anciennes Pompes Funebres de la ville de Paris, Paris, France |
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2002 |
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Music/Video, curated by Lydia Yee, Mus�e d'Art Moderne et Contemporain, Strasbourg, France, |
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2002 |
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Les Enfants du Paradis, Galerie Yvon Lambert, Paris, France |
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2002 |
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Art Unlimited, Art | 33 | Basel, Basel, Switzerland |
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2002 |
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Slater Bradley, Mark Leckey, John Williams, Low, Los Angeles, California |
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2002 |
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International Contemporary and Emerging Art, Lawson_Menzies Flynn, Sydney, Australia |
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2002 |
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The Standard Projection #3, curated by Yvonne Force, The Standard, Los Angeles, CA, |
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2002 |
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Photographier, Collection Lambert en Avignon, Avignon, France |
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2002 |
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burst, Team Gallery, New York, NY |
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2002 |
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Copy, curated by Neville Wakefield, Roth Horowitz Gallery, New York, NY |
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2002 |
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Heaven Knows I'm Miserable Now, Low, Los Angeles, California |
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2002 |
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Dark Spring, curated by Nicolaus, Ursula Blickle Stiftung, Kraichtal, Germany |
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2001 |
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Casino 2001, curated by Jeanne Greenberg Rohatyn, Stedelijk Museum voor Actuele Kunst, Ghent, Belgium |
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2001 |
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Art and Wellbeing � The Aesthetics of Recreation, curated by Andrea Domesle, Kunsthaus Meran-Merano Arte, Merano, Italy |
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2001 |
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Metropolis Now, curated by Elga Wimmer, Borusan Centre for Culture and Arts, Istanbul, Turkey, traveling to the Reina Sofia, Madrid |
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2001 |
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Inaugural Exhibition, Le Studio at Galerie Yvon Lambert, Paris |
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2001 |
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Objects in Mirror Are Closer Than They Appear, Team Gallery, New York, NY |
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2001 |
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Schau mir in die Augen, Kleines!, curated by Ren� Block, Kunsthalle Fridericianum, Kassel, Germany |
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2001 |
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In a Lonely Place, curated by Greg Hobson, National Museum of Film, Television and Photography, West Bradford, UK |
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2001 |
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Dear Dead Person, curated by Banks Violette, Momenta, Brooklyn, NY |
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2001 |
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Casino 2001, Stedelijk Museum voor Actuele Kunst, Ghent, Belgium (cat.) |
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2001 |
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Art and Wellbeing - The Aesthetics of Recreation, Kunsthaus Meran, Merano, Italy (cat.) |
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2001 |
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Metropolis Now, Borusan Centre for Culture and Arts, Istanbul, Turkey / Reina Sofia, Madrid, Spain |
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2001 |
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Objects in Mirror Are Closer Than They Appear, Team Gallery, New York, USA |
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2001 |
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Schau mir in die Augen, Kleines!, Kunsthalle Fridericianum, Kassel, Germany (cat.) |
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2001 |
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Inaugural Exhibition, Le Studio at Galerie Yvon Lambert, Paris, France |
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2001 |
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In a Lovely Place, National Museum of Film, Television and Photography, West Bradford |
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2001 |
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Trompe Le Monde, Galerie Yvon Lambert, Paris, France, (solo) |
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2001 |
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Home Town Hero, Refusalon, San Francisco, USA, (solo) |
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2001 |
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Statements, Art/32/Basel, Basel, Switzerland (under the auspices of Team Gallery), (solo) |
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2001 |
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Video Cube, FIAC, Paris (under the auspices of Galerie Yvon Lambert), (solo) |
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2001 |
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Dear Dead Person, Momenta, Brooklyn, New York, USA |
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2001 |
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Gra Kill Rock Stars (KRS 369), Unwound |
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2000 |
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Friction Fiction, Echo Park Projects, Los Angeles, USA |
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2000 |
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1:1, Refusalon, San Francisco, USA |
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2000 |
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The World is Not Enough, Museum of Contemporary Art, Washington, USA |
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2000 |
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Special Projects Series, P.S.1, New York, USA, (solo) |
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2000 |
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Charlatan, Team Gallery, New York, USA, (solo) |
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2000 |
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I was rooting for you, Irvine Fine Arts Center, Irvine, USA, (solo) |
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2000 |
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Friction Fiction, Echo Park Projects, Los Angeles, CA |
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2000 |
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1:1, Refusalon, San Francisco, CA |
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2000 |
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The World is Not Enough, curated by Lisa Ruyter, Museum of Contemporary Art, Washington, DC |
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1999 |
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SoCal Car Culture, Irvine Fine Arts Center, Irvine, CA |
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1999 |
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PO + KU ART REVOLUTION, curated by Takashi Murakami, Parco Gallery, Tokyo |
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1999 |
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Oh my god, I live on the thirteenth floor in Holland, which does not exist in the United States, or no?, curated by Jay Batlle, Alternative Space, Amsterdam |
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1999 |
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long cold winter in an endlessnameless, Studio 870, Los Angeles, CA |
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1999 |
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The Fried Liver Attack, Team Gallery, New York, USA, (solo) |
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1999 |
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SoCal Car Culture, Irvine Fine Arts Center, Irvine, USA (cat.) |
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1999 |
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PO + KU ART REVOLUTION, Parco Gallery, Tokyo, Japan |
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1999 |
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On my god, I live on the thirteenth floor in Holland, which does not exist in the United State, |
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1999 |
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ot no? Alternative Space, Amterdam |
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1999 |
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long cold winter in an endlessnameless, Studio 870, Los Angeles |
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1998 |
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Blind Date with Erik Wesselo, W139, Amsterdam, The Netherlands (cat.) |
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1998 |
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A sound goodbye demand with Jay Batlle, Studio 870, Los Angeles, USA |
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1998 |
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Text and Numbers, Remba Gallery, Los Angeles, USA |
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1998 |
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Blind Date with Erik Wesselo , W139, Amsterdam |
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1998 |
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A sound goodbye demand with Jay Batlle, Studio 870, Los Angeles, CA |
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1998 |
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Text and Numbers, Remba Gallery, Los Angeles, CA |
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1997 |
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Ca 90001-185, W139, Amsterdam |
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1997 |
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Ca 90001-185, W139, Amsterdam, The Netherlands |
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1997 |
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New memory, Spanish Kitchen, Los Angeles, USA |
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Literature |
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2007 |
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Brian Scholis, Reviews, Artforum, Feb 2007, p.295 |
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2006 |
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Doppelganger, Busan Biennial Catalogue, p. 266 - 267 |
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2006 |
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Melissa E. Feldman, Berkeley And Los Angeles, Art In America, Jan, pp. 128 - 129 |
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2006 |
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Charlotte Bonham-Carter, Showdown, Art Review, March, p.25 |
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2006 |
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Martin Herbert, Slater Bradley, Time Out London, May 3 – 10, p.37 |
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2006 |
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Pelin Uran, Journey To The Far Side Of The Sun, Uovo Magazine, Issue 11, pp.157-169 |
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2006 |
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Daniel Kunitz, Cinephile: Slater Bradley, Art Review, Issue 05, November, p.46 Daniel Kunitz, Cinephile: Slater Bradley, Art Review, Issue 05, November, p.46 |
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2006 |
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Elisabeth Kley, Reviews, Time Out New York, November 30 – December 6, p.76. |
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2005 |
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Monty DiPietro, New Art Seen, The Japan Times, 17th November (with illustration) |
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2005 |
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Kristin Jones, Bridge Freezes Before Road, Frieze, October Issue, pp. 217-8 (with ill.) |
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2005 |
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Fisun Güner, Threshold, Metro, London, 4 August, p. 24 |
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2005 |
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Holland Cotter, 5 X U, The New York Times, 22 July, p. E32 |
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2005 |
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Holland Cotter, Fanciful to Figurative to Wryly Inscrutable, The New York Times July 8, pp. 28-29 |
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2005 |
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Melissa Lo, Slater Bradley, Flash Art, March-April, pp. 117-118 |
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2005 |
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Slater Bradley, Speak Memory: Reflections on the Doppelganger Trilogy, PAJ: A Journal of Performance and Art, January, pp.108-110 |
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2005 |
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Elisabeth Kley, The Disappearing Subject: Looking for Slater Bradley, PAJ: A Journal of Performance and Art, January, pp.102-107 |
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2005 |
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Jonathan Keats, Popshots, San Francisco, April |
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2004 |
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Lucas Hilderbrand, Grainy Days and Mondays: Superstar and Bootleg Aesthetics, Camera Obscura 57, Volume 19, Number 3, published by Duke University Press, pp. 56-91 |
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2004 |
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Holly Willis, The Doppelganger Trilogy, LA Weekly, December 24-30, p.74 |
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2004 |
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Kyoko Wada, Boys' Life: Slater Bradley, Brutus, August, pp. 90-93, 116 |
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2004 |
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Michael Wilson, I, Assasin, Frieze, May, p. 107 |
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2004 |
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Renato Diez, Alla Biennale del Whitney torna la pittura, Arte, April, pp.104-111 |
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2004 |
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Jerry Saltz, The OK Corral, The Village Voice, March 17-23, p.80 |
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2004 |
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Michael Kimmelman, Touching All Bases At The Biennial, The New York Times, March 12, pp. 27-38 |
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2004 |
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Peter Schjeldahl, What's New: The Whitney Biennial, The New Yorker, March 22, pp.100-01 |
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2004 |
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Randee Dawn, Artist Salutes Cobain With New Music Video, Billboard.com |
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2004 |
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Anne Stringfield, Art Picks, The New Yorker, March 8, p 17 |
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2004 |
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Elizabeth Schambelan, Critics Picks, Artforum.com |
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2004 |
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Karen Rosenberg, Come as You Art, New York, February 23, p 76 |
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2004 |
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Mark Sladen, Buried Treasures, Art Review, January, p 37-38 |
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2004 |
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Eleanor Heartney, The well – tempered Biennial, Art in America, June – July, pp.71-77 |
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2004 |
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Randee Milroy, Artist Salutes Cobain With New Music Video, Billborad.com |
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2003 |
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Clay Weiner, The Importance of Being Slater Bradley, Dazed and Confused,November, pp. 100-104 |
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2003 |
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Jane Harris, An Enquiry..., Time Out New York , October 2, p. 63 |
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2003 |
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Simon Watson, Post Bubble, Issue, Fall, pp. 118 - 139 |
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2003 |
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Benjamin Genocchino, Video and Photographs That Teeter on the Edge, August |
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2003 |
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Holland Cotter, Upstate - From Eerie Video to Moods of Shaker Calm, The New York Times, July 25 |
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2003 |
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Sarah Valdez, The Observer, Paper Magazine, August, p. 48 |
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2003 |
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Alex Mar, Gallery Going, The New York Sun, July 3, p. 16 |
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2003 |
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Charles LaBelle, I See a Darkness, Frieze, June-August, p. 116 |
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2003 |
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Christopher Knight, On the Underbelly of the Zeitgeist, The Los Angeles Times, February 21, p. 24 |
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2003 |
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Manami Fujimori, Very New York, Bijutsu Techo, January, p. 45 |
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2002 |
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Michael Cohen, Slater Bradley at Team, Flash Art International, July/September, p. 118 |
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2002 |
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Holland Cotter, Art In Review: 'Slater Bradley', The New York Times, May 17 |
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2002 |
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Martha Schwendener, Review, Time Out New York, May 23-30, p. 76 |
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2001 |
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Kim Levin, Voice Choice: Objects in Mirror are Closer Than They Appear, The Village Voice, September 18, p. 78 |
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2001 |
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Louise Lepore, Early Risers, W, September, pp. 458-462 |
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2001 |
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Charles-Arthur Boyer, Review of exhibition at Yvon Lambert, Art Press, June, pp. 79-80 |
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2001 |
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Elizabeth Kley, In Search of False Time: Slater Bradley/T.J. Wilcox/Isaac Julien, PAJ: A Journal of Performance and Art, No. 68, May, pp. 61-67 |
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2001 |
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Holland Cotter, Review: Dear Dead Person, The New York Times, May 25, p. 29 |
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2001 |
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Michel Guerrin, Intimacies rangeantes, Le Monde, April 1 |
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2001 |
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Max Henry, Review, Art in America, April, p. 144 |
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2001 |
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Takayo Iida, Slater Bradley, Bijitsu Techo, March |
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2001 |
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Claudine Ise, Feature, Res Magazine, March |
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2001 |
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David Hunt, Review, Frieze, March |
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2001 |
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Lindsey Westbrook, Review: Home Town Hero, The San Francisco Bay Guardian, January 17-23, p. 85 |
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2000 |
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Margaret Sundell, Review, Artforum, November, p. 157 |
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2000 |
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Jeremy Lin, Prodigies: View Master, Surface, No. 26, November, pp. 108 - 110 |
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2000 |
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Dana Plasse, Dress Rehersal for Death: Slater Bradley's JFK Jr. October 6 |
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2000 |
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Max Pizarro, Georgetown gallery strives to keep it real with exhibit, The Georgetown Current, September 27, pp. 16-18. |
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2000 |
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Andrea Scott, Art Picks, The New Yorker, October 9, p. 18 |
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2000 |
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Kim Levin, Voice Choice: Recommended, The Village Voice, October 10, p. 104 |
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2000 |
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Robert Mahoney, Review Time Out New York, September 21-28, p. 69 |
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2000 |
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Roberta Smith, Review, The New York Times, September 15, p. 33 |
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1999 |
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Kim Levin, Voice Choice: Recommended, The Village Voice, July 6 |
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1999 |
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Max Henry, Edgy New Artist, artnet.com, July |
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1998 |
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Blind Date show (two promotional interviews), Bellissima, Dutch TV |
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1998 |
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Blind Date show (two live interviews), P.A.R.K4D, Dutch TV |
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1998 |
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Claudine Ise, By the Numbers, LA Times, 21 August |
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1998 |
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Takashi Murakami, 1998 Fall LA Art Scene News, Studio Voice, December |
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1998 |
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Kevin Fisher, Recital for Fight, World Wide Video Festival, September |
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1998 |
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Erik Hagoort, What makes a blind date a bad experience, Volkstraat, September |
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1997 |
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Karin Veraat, Volkstraat, December 11 |
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1997 |
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Scholarship support offers lifelong opportunities, UCLA Arts Magazine, fall |
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