Peter Halley Selected Essays Ralph

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Bibliography

Selected Bibliography
1981Douglas Welch, Arts, “Jonathan Lasker”, January, Illus: “Scept Simon Zabellre”, color, p.2
Roberta Smith, Village Voice, October 21, “Group Exhibition at Tony Shafrazi”
1982Carl Apfelschnit, Bomb Magazine, Issue #4, Illus: “Bwanna’s Nightmare”, b/w, p.48
1984Carter Ratcliff, Fact and Fiction, catalogue essay for exhibition at Tibor De Nagy Gallery, Illus: “Nature Study”, color
Katherine Howe, Images and Issues, March-April, “Review of New Biomorphism & Automatism”, pp.18-19
Hans-Joachim Müller, Badische Zeitung, June 27, “Jonathan Lasker at Annette Gmeiner”, Illus: “Nature Study”, b/w
Barnaby Ruhe, Art World, November, “Jonathan Lasker at Tibor De Nagy”, p.10
Collins & Milazzo, Forced Sentiment, catalogue essay for exhibition at Artists Space, p.5
1985David Carrier, Arts, January, “Painting into Depth: Jonathan Lasker’s Recent Art”, Illus: “Strawberry Fields”, “NatureStudy”, color, “Ascension”, b/w, pp.142-144
Dan Cameron, Arts, February, “The Groundhog Report”, p.96
Nancy Grimes, Art News, April, “Review of 2 Smart Art Too”, pp.146, 148
Stephen Westfall, Art in America, May, “Jonathan Lasker at Tibor De Nagy”, Illus: “Three Card Monte”, color, p. 173
Gerrit Henry, Art News, May,”Jonathan Lasker at Tibor De Nagy”, Illus: “Deep Purple”, b/w, pp.119, 120
Joseph Masheck, New Observations, Issue #28, “Observations on Harking Back (and Forth)”, p.11
Everett Potter, Arts, Summer, “Review of Final Love”, p.37
Collins & Milazzo, Creativa, #4, “New York: Final Love”, Illus: “Idiot Savant”, b/w, p.11
Siegfried Gohr, Kölner Herbstsalon, catalogue essay for exhibition at Museum Ludwig, Illus:”The Sublimation of Love” color, “Heart in a Whirl”, “Heath”, “Nature Study”, “Idiot Savant”, “The Metaphysics of Matter”, b/w
Beth Beigler, East Village Eye, July, “Deconstructing Criticism: C&M”, pp.36-37
Amine Haase, Kölner Stadt Anzeiger, August 9, “Herbstsalon: Umgang Mit Der Kunstgeschichte”, p.27
Bruno Schneider, Kölner Rundschau, August 9, “Review of Herbstsalon”, p.11
Christoph Bungartz, Rheinpfällische Zeitung, August 15, “Review of Herbstsalon”
Steven Madoff, Abstract/Issues, catalogue essay for exhibition at Sherry French Gallery, Unpaginated
Collins & Milazzo, East Village Eye, October, “Art or Media: Neutral Trends”, p.38
Roberta Smith, Vernacular Abstraction, catalogue essay for exhibition at Wacoal Art Center, Illus: “Asterisk”, color
1986Alan Jones, New York Talk, January, “Cult of Decorum”, Illus: “Large Weather”, b/w, p.67
Dan Cameron, Jonathan Lasker, catalogue essay for exhibition at Michael Werner Gallery, Illus: “Confessions of a Groundhog Fancier”, “Live It…..Love It”, “Double The Fun”, “Beat The System”, “Heavy Mental”, color
Ralf Dank, Kölner Stadt Anzeiger, February 4, “Jonathan Lasker at Michael Werner: Freie Formen”, Illus: “Rhetorical Remembrance”, b/w
Collins & Milazzo, Kunstforum, March, April, May, “New York Scene: Tropical Codes”, Illus: “The Metaphysics of Matter”, color, pp.324-326
Elaine King and David Carrier, Abstraction/Abstraction, catalogue essays for exhibition at Carnegie Mellon University, Illus: “The Metaphysics of Matter”, color
Volker Bauermeister, Badische Zeitung, February 15/16, “Beweggrund, Papiergrund”
Ralf Dank, Kunstforum, June, July, August, “Jonathan Lasker: 5 Bilder”, Illus: “Heavy Mental”, “To Win At Art”, color, pp.292-293
Alan Jones, Galleries, August, September, “Paravision” (Collins & Milazzo interview), Illus: “Main Event”, color, pp.40-43
Stephen Westfall, L.A. Weekly, August 15-21,”Paravision II: The Synthetic Sublime”, pp.20,22
John Yau, Artforum, September, “Jonathan Lasker at Tibor De Nagy”, Illus: “Theories About Exotica”, b/w, p.134
Barry Schwabsky, Arts, September, “Abstraction and Its Double”, Illus: “The Metaphysics of Matter”, color, pp.68-71
Jerry Saltz, Beyond Boundaries: New York’s New Art, Alfred Van Der Marck Editions, hardbound, 128 pp., with essays by Roberta Smith and Peter Halley, Illus: “Theories About Exotica, “Synthetic Flamboyance”, “The Conscious Subconscious”, color
Wilfried Dickhoff, Editor, What It Is, catalogue for exhibition at Tony Shafrazi Gallery, Illus: “To Win At Art”, b/w
Joseph Masheck, The New Leader, October 20, “Abstract Ironies”, pp.21-22
1987Jonathan Seliger, Arts, March, “Interstices”, Illus: “An Argot For The Supreme Being”, color, pp.66-69
Klaus Ottmann, Flash Art, April,”Modern Sleep”, pp.92-93
Paul Richard, Washington Post, April 11, “Review of the Corcoran Biennial”, pp.C1, C3
Ned Rifkin and Jane Livingston, The 40th Corcoran Biennial, catalogue essays for group exhibition at the Corcoran Gallery of Art, Illus: “Theories About Exotica”, color
Joseph Masheck, Jonathan Lasker, “Painting and Its Treble”, catalogue essay for exhibition at Michael Werner Gallery, Illus: “To Regain Virginity”, “Perfect Penmanship”, “To Caress The Naked Eye”, “Look Alike”, “Fashionable Obscurity”, “Rogue Modernity”, “Return The Favor”, “Non Sequitur Psyche”, color
Collins & Milazzo, J.A.A. Journal, Issue #7, “Hybrid Neutrals”, pp.123-125
Eugene Schwartz, Post-Abstract Abstraction, catalogue essay for exhibition at Aldrich Museum, Illus: “An Argot For The Supreme Being”, “Logo”, b/w
Ralf Dank, Kölner Stadt Anzeiger, May 5, “Jonathan Lasker at Michael Werner: Reizende Puzzles”
Michael Brenson, The New York Times, Sunday, June 7, “Art View: The Corcoran Biennial”
Pat McCoy, Artscribe, Summer, “Interstices”, Illus: “An Argot For The Supreme Being”, “The Sublimation Of Love”, b/w, pp.82-83
David Carrier, Burlington Magazine, July, “Washington, Corcoran Gallery, Fortieth Biennial”, pp.483-484
William Zimmer, The New York Times, Sunday July 5, “Post-Abstract Abstraction in Ridgefield”
Matthew Collings, Artscribe, September, “Posthumous Meaning: Tricia Collins and Richard Milazzo Interviewed”, Illus: “Main Event”, color, pp.44-49
Jutta Koether, Artscribe, September, “Jonathan Lasker at Michael Werner, Cologne”, Illus: “To Regain Virginity”, color, pp.88-89
Steven Madoff, Art News, September,”Washington D.C.: An Inevitable Gathering”, p.153
John Loughery, Arts, September, “Affirming Abstraction: The Corcoran Biennial”, pp.76, 78
Dan Cameron, N.Y. Art Now: The Saatchi Collection, Giancarlo Politi Editore, paperbound, 250pp., Illus: “Heart In A Whirl”,”Idiot Savant”, “The Oddness Factor”, “Live It ….Love It “,”Double The Fun”, “Beat The System”, “Blobscape”, color
Charles Hagen, Artforum, October, pp.135-136
Collins & Milazzo, New Observations #51, October, “Radical Consumption and The New Poverty”, Illus: “Hawaiian Punch”, b/w, p.10
Gerhard Hesler, Stuttgarter Zeitung, July 20, “Um Den Brei Herum (Junge Maler in der Galerie Gmeiner)”
Sten Martinsson, Malmo Kvallsposten, November 19, “Jonathan Lasker at Anders Tornberg”, Illus: “Tribal Publicity”, b/w
Hakan Zeylon, Skanska Dagbladet, November 18, “Jonathan Lasker at Anders Tornberg”, Illus:”The Aberrant Future, b/w
Marika Wachtmeister, Sydsvenska Dagbladet, November 12, “Jonathan Lasker at Anders Tornberg”, Illus: “To Regain Virginity”, b/w
Cookie Mueller, Details, February, “Art and About”, pp.69-70
Daniel Barbiero, New Art Examiner, Summer, “The Fortieth Corcoran Biennial”, pp.30-31
Unauthored, Jonathan Lasker:Paintings 1986-1987, catalogue for exhibition at Anders Tornberg, Illus: “Tribal Publicity”, “Kinds of Love”, “The Aberrant Future”, “Ego Worship”, “Eye Sex”, “To Manufacture Transcendence”, color
1988Mari Rantanen, Helsingin Sanomat, February 21, “Interview with Jonathan Lasker”, Illus: “Popular Psyche”, color, p.A16
John Zinsser, Arts, May, “Plotting Self-Doubt: The Paintings of Jonathan Lasker and Tom Nozkowski”, Illus: “Rogue Modernity”, color, pp.82-83
Douglas Huebler, John Miller, Stephen Prina, et al., Cal-Arts: Skeptical Belief(s), catalogue essays for exhibition at Renaissance Society and Newport Harbor Art Museum, Illus: “The Age of Plastic”, b/w, p.4
Robert Mahoney, Arts, Summer, “Jonathan Lasker at Massimo Audiello”, p.108
Brian Hatton, Flash Art, Summer, “N.Y. Art Now 2”, p.142
Collins & Milazzo, Gary Indiana, “Hybrid Neutral, Modes of Abstraction And The Social“, catalogue essays for traveling exhibition, Illus: “Compound Beliefs”, b/w, p.45
Mari Rantanen, Taide Magazine, August, “Interview with Jonathan Lasker”, Illus: “The Conscious Subconscious”, “Contemporary Tribalism”, “Primordial Teenage”, “Double Play”, color, pp.38-42
Markus Brüderlin, “Schwarzwaldbild” catalogue essay for exhibition at Künstverein Hochrhein, Illus: “A Week’s Work in the Schwarzwald”, color
John Zinsser, Art in America, November, “Jonathan Lasker at Massimo Audiello”, Illus: “The Realm of the Quaint”, color, pp.179-180
Marika Wachtmeister, Femina Magasin, December, “Fran Elverk Till Konst Museum, Rooseum”, Illus: “Today’s Universe”, color, pp.120-124
Daniela Morera, L’Uomo Vogue, December, “New York Art”, pp.141-144
1989Gosse Oosterhof, Dan Cameron, Horn of Plenty, catalogue essays for exhibition at Stedelijk Museum, Amsterdam, Illus: “Cosmic Shorthand”, “Digital Affection”, “Double Play”, “Abstract America”, color, “Fake Freak”, b/w
Saul Ostrow, Diagrams & Surrogates, catalogue essay for exhibition at Shea & Beker Gallery, Illus: “The Redundant Sublime”, color, p.8
Lucilla Meloni, Tema Celeste, January-March, “Jonathan Lasker at G.E. Sperone”, Illus: “Fake Freak”, b/w, p.69
Alessandra Mammi, Artforum, February, “Jonathan Lasker at G.E. Sperone”, Illus: “Fake Freak”, b/w, p.142
Collins & Milazzo, Hyperframes, Post Appropriation Discourse, The Yale Lectures, Volume I, Editions Antoine Candau, Paris, paperbound, 55pp. (English text), 57pp. (French text)
Jude Schwendenwien, Contemporanea, October, “The Silent Baroque”, Illus: “Psychic Governance”, p.89
Collins & Milazzo, Cultural Promiscuity: A Dialogue With Jonathan Lasker, Gian Enzo Sperone Editions, paperbound, unpaginated, Illus: 13 studies for a painting entitled “Cultural Promiscuity”, color
Helmut Draxler, Flash Art, October, “The Silent Baroque”, p.144
Roberta Smith, The New York Times, October 27, “Jonathan Lasker at Massimo Audiello”, p.C30
Christian Leigh, Editor with numerous contributors, The Silent Baroque, Thaddaeus Ropac Editions, hardbound, 288 pp., Illus: “Psychic Governance”, color, 6 drawing project entitled “The Ornate Pysche”, b/w
Demetrio Paparoni, Tema Celeste, October-December, “Conversation with Jonathan Lasker”, Illus: “Born Yesterday”, “Those of Questionable Existence”, “Notes from a Wooden Computer”, color, pp.51-53
Stephen Westfall, Art Today (Monthly video tape publication), November, “Jonathan Lasker at Massimo Audiello,” Vol.1, No.1
Grace Glueck, The New York Times, December 28, “Around Los Angeles, Private Foundations Offer Art to the Public”, pp. C13, C16
Collins & Milazzo, Art at the End of the Social, catalogue essay for exhibition at the Rooseum, Illus: “Contemporary Tribalism”, “For A Small Country”, “Beer Culture”, “Today’s Universe”, color, pp.184-187
Rosma Scuteri, Flash Art, Italian Edition, February-March, “Jonathan Lasker at G.E. Sperone”, Illus: “Fake Freak”, b/w, p.113
Martijn Van Nieuwenhuyzen, Flash Art, International Edition, March/April, “Horn of Plenty”, p.102
Marja Bosma, Contemporanea, May, “Horn of Plenty”, Illus: “Digital Affection”, color, p.94
Lise Holst, Art News, May, “Diagrams and Surrogates”, p.171
Angela Lombardi, Tema Celeste, April-June, “Interview with Jonathan Lasker”, Illus: “Cosmic Vernacular”, “The Realm of the Quaint”, “The New Infancy”, color, pp.62-63
Stuart Greenspan, Art & Auction, March, “Art 2, The Schorr Collection”, Illus: “The New Infancy”, color, pp.138-141
Joseph Masheck, David Shapiro, F.Pellizzi, P. Gettinger, 1979- 1989, Italian, Mexican Art from the Collection of Francesco Pellizzi, catalogue essays for exhibition at Hofstra University, Illus: “Spiritual Entertainment”, color, p.37
Shoichiro Higuchi, Anthropos, November, “Artist in New York: Jonathan Lasker”, Illus: “Cosmic Vernacular”, color, pp.132-134
Demetrio Paparoni & Michelangelo Castello, Specchi Ustori, Tema Celeste Editioni, Siracusa, Italy, Paperbound, 133 pp., Illus: series of 4 drawings
1990Shirley Kaneda, Bomb, Winter, “Interview with Jonathan Lasker”, Illus: “Born Yesterday”, “Arcane Reasoning”, “Worlds of Mutual Exclusion”, b/w, pp.16-19
Jude Schwendenwien, Artscribe, January-February, “A Thousand Words, Jonathan Lasker’s Sublime Discourse”, Illus: “Popular Psyche”, “Today’s Universe”, “The Big Picture”, color, pp.58-61
Joseph Masheck, Arts, January, “Painting in Double Negative, Jonathan Lasker’s Third-Stream Abstraction”, Illus: “Baroque Transparency”,”Expressive Abstinence”, “Born Yesterday”,”Gutteral Antiquity”, color, pp.38-43
Barbara MacAdam, Art News, February, “Jonathan Lasker at Massimo Audiello”, Illus: “Born Yesterday”, b/w, pp.154-155
Collins & Milazzo, Token Gestures, catalogue essay for exhibition at Scott Hansen Gallery, Illus: “After Right and Wrong”, b/w, unpaginated
Shoichiro Higuchi, Idea, March, “This Side and the Opposite Side ofLasker’s Screen”, Illus: “Obscure Designs”, “Notes from a Wooden Computer”, color, “Contemporary Tribalism”, b/w, pp.126-127
David Carrier, Art International, Spring, “Abstract Working Spaces: Jonathan Lasker at Massimo Audiello”, Illus: “Rural Geometry”, color, pp.68-70
Juergen Kisters, Kölner Stadt Anzeiger, April 21, 22 , “Galerie Werner Zeigt Jonathan Lasker”
Carter Ratcliff, Art in America, June, “Notes On Line”, Illus: “Euphoric Routines”, color, pp.152-157
Mari Rantanen, Worlds, Maailmat ’90, catalogue essay for exhibition at Joensuu Art Museum, Illus: “Worlds of Mutual Exclusion”, “Today’s Universe”, color, pp.21-25
Uta Reindl, Kunstforum, June, July, “Jonathan Lasker at Michael Werner”, Illus: “Arcadian Sections”, color, p.312
Jude Schwendenwien, The Significance of Moments, catalogue essay for solo exhibition at Michael Werner Gallery, Illus: “Terse Psyche”, “Simple Painting”, “Gutteral Antiquity”, “Formalities of Self”, “Standards of Expression”, “Arcadian Sections”, “Born Yesterday”, “Infant Wisdom”, “To Be A Thing”, “Cosmic Self-Evidence”, color
Joan Snitzer, Tema Celeste, July-October, “Token Gestures”, pp.68-69
Rainer Crone and David Moos, Painting Alone, “Painting at a Moment”, catalogue essay for exhibition at Pace Gallery, Illus: “The Spiritual Economy”, color, p.51
Robert Pincus-Witten, Collins & Milazzo, The Last Decade: American Artists of the Eighties, catalogue essays for exhibition at Tony Shafrazi Gallery, Illus: “Mantra to a Distracted God”, color
Collins & Milazzo, Hyperframes: A Post Appropriation Discourse, Vol. II Editions Antoine Candau, Paris, Paperbound, 108 pp., (English text), 117 pp. (French text)
Roberta Smith, The New York Times, October 12, “Painting Alone”, p.C23
David Reisman, Artscribe, September-October, “Token Gestures”, p.88
Barry Schwabsky, Arts, November, “Forwarding Address: Abstract Painting in Some Recent Manifestations”, pp.96-97
Jelena Zetterstrom, Sydsvenska Dagbladet, November 24, “Spänning, Rörelse: Jonathan Lasker at Anders Tornberg”
Shirley Kaneda, Arts, December, “Painting Alone”, p.84
Unauthored, Jonathan Lasker, catalogue for solo exhibition at Anders Tornberg Gallery, Illus: 16 untitled drawings, color
Donald Kuspit, Artforum, December, pp.131-132
Paolo Balmas, Segno, Annual Edition, “New York, A Kaleidoscope from Outside: Jonathan Lasker at Massimo Audiello”, p.36
1991Saul Ostrow, Tema Celeste, January-February “Painting Alone”, p.90
Saul Ostrow, Strategies for the Next Painting, catalogue essay for exhibition at Wolff Gallery, New York and Feigen Inc., Chicago, Illus: “Some Like Love”, b/w, p.6
Joseph Masheck, Between Intuition and Reason, “Haven’t We Met Before?”, catalogue essay for exhibition at Grossman Gallery, unpaginated, Illus: “Double Play”, “After Right and Wrong”, “The Big Picture”, color
Collins & Milazzo, Tema Celeste, January-February, “From Kitsch to Kant and Back Again”, pp.76-80
Alan Jones, Arts, February, “Carte Blanche: Books in Artists’ Lives, Part II”, pp.25-26
Rainer Crone and David Moos, Interpreting Contemporary Art, “Romance of the Real”, essay in an anthology, Stephen Bann & William Allen, Editors, Reaktion Books, paperbound, 229pp, Illus: “Double Play”,color, “Main Event”, “The Excessive Norm”, “Flower Bomb”, “Baroque Transparency”, b/w
Demetrio Paparoni, Riza Scienze, April, “Le Pulsioni dell’Arte”, Illus: “Mantra to a Distracted God”, color, p.53 and magazine cover
Josefina Ayerza and Lynn Crawford, Lacanian Ink #3, “Jonathan Lasker” and “Abstracts of a Conversation with the Artist”, Illus: 6 untitled drawings, b/w, pp.68-75 and back cover
Shirley Kaneda, Arts, Summer, “Painting and Its Others”, p.62
Nikolai Forstbauer, Stuttgarter Nachrichten, June 13, “Feuilleton: Liebenswerter Kunst-Irrgarten”, Illus: “Born Yesterday”, b/w
Nikolai Forstbauer, Stuttgarter Nachrichten, June 24, “Was Für Eine Grossartige Malerei”, Illus: “Why Things Are”, b/w
Nikolai Forstbauer, Zyma, June-July, “Jonathan Lasker -Why Things Are Born Yesterday”, Illus: “Born Yesterday”, “Cosmic Self-Evidence”, “To Be A Thing”, color, pp.22-25
Lars Ericsson, Dagens Nyheter, September 6, “Jonathan Lasker at Lars Bohman”, Illus: untitled oil study, color, p.B3
Edith Newhall, New York Magazine, September 23, “Fall Preview”, p.62
Gertrud Sandqvist, Svenska Dagbladet, September 21, “Jonathan Lasker at Lars Bohman”
Robert Mahoney, Arts, October, p.95
Renato Barilli, Jan Avgikos, et al., Anni Novanta, catalogue essays for exhibition at the Bologna Gallery of Modern Art, Illus: “Cosmic Self-Evidence”, color, “Public Love”, “Ode to a Mutt”, b/w, pp.62-63
Charles Hagen, The New York Times, October 18, “Art in Review: Jonathan Lasker at Sperone Westwater”, p.C28
Kirby Gookin, Rainer Crone and David Moos, Jonathan Lasker, “Drawing a Line Between Illusion and Reality” & “The Status of Beauty: Jonathan Lasker and the Rose”, catalogue essays for solo exhibition at Sperone Westwater Gallery, Illus: “Fake Freak”, “The Politics of Reality”, “Digital Affection”, “Histrionic Infinity”, “The Big Picture”, “Euphoric Routines”, “How To Be”, “Some Share Eternity”, “Public Love”, “To Believe in Food”, “The History of the Boudoir”, “Improved Expressions”, “To an Object of Love”,”Polite Cosmos”, “The Power of Weakness”, “The Division of Happiness”, color, “Arcadian Sections”, “Cosmic Self- Evidence”, b/w
Daniel Wheeler, Art Since Mid-Century: 1945 to the Present, Vendome Press, hardbound, 344pp., Illus: “Today’s Universe”, color
Demetrio Paparoni, The Metaphysics of Light, catalogue essay for exhibition at John Good Gallery, Illus: “Rustic Psyche”, color
Demetrio Paparoni, Tema Celeste, Autumn, “Conversation with Jonathan Lasker”, Illus: “The Cosmic Vernacular”, “Standards of Expression”, “The Meaning of Pleasure”, “Love’s Rhetoric”, color, pp.88-89
Veit Görner, Pan, October, “Expertentip-Etabliertes Für Einsteiger”, Illus: “Born Yesterday”, color, p.24
Carroll Janis, Jonathan Lasker, et al., Conceptual Abstraction, catalogue essays for exhibition at Sidney Janis Gallery, unpaginated, Illus: “Arcadian Sections”, b/w
Paolo Balmas, Segno, September, “Il Caso Lasker”, pp.20,22,23
Matthew Weinstein, Artforum, December, “Jonathan Lasker at Sperone Westwater”, Illus: “Polite Cosmos”, b/w, pp.97- 98
Barry Schwabsky, Arts, December, “Jonathan Lasker at Sperone Westwater”, Illus: “The Power of Weakness”, color, p.66
Ruth Kaufman, Mike Metz, Stubborn Painting, catalogue essays for exhibition at Max Protetch Gallery, unpaginated, Illus: “Natural Formality”, “Canaletto”, “The Excessive Norm”, b/w
Trevor Richardson, Art on Paper, catalogue essay for exhibition at Weatherspoon Art Gallery, Illus: untitled drawing, b/w, p.15
Roberta Smith, The New York Times, December 27, “Art in Review – Conceptual Abstraction”, p.C31
Carl Dietmar, Die Chronik Kölns, Kölner Stadt Anzeiger-Chronik Publications, hardbound, 600pp., Illus: “Infant Wisdom”, “To Be a Thing” in installation at Michael Werner Gallery, color
Alisa Taeger, Lapiz, October, “Color and Abstract Painting: Expanding the Palette”, Illus: “Public Love”, pp.62-65
Terry Myers, Lapiz, November, “Jonathan Lasker at Sperone Westwater” Illus: “To an Object of Love”, color, p.67
1992Ken Johnson, Art in America, January, “Jonathan Lasker at Sperone Westwater”, Illus: “To An Object of Love”, color, pp.111-112
Roberta Smith, The New York Times, January 10, “Abstraction: A Trend That May Be Coming Back”, p.C28
Barry Rosenberg, Peter Halley, The City Influence, catalogue essays for exhibition at Dayton Art Institute, unpaginated, Illus: “Love’s Rhetoric”, “Notes from a Wooden Computer”, “Rustic Psyche”, “To an Object of Love”, “The History of the Boudoir”, color
Melissa Feldman, Jonathan Lasker, Paintings 1985-91, catalogue essay for solo exhibition at I.C.A., Philadelphia, PA, unpaginated, Illus: “The Meaning of Pleasure”, “Improved Expressions”, “The Sublimation of Love”, “The Realm of the Quaint”, “Landscape with Blob”, color
Edward Sozanski, Philadelphia Inquirer, February 2, “Jonathan Lasker at I.C.A.”, pp.K1,K5
Barbara MacAdam, Art News, February, “La Metafisica Della Luce”, pp.128-129
Paul Gardner, Art News, February, “Do Titles Really Matter?”, Illus: “Euphoric Routines”, color, p.97
Gary Mullinax, Wilmington Journal, February 2, “Jonathan Lasker at I.C.A.”, Illus: “Improved Expressions”, b/w
Marjorie Wellish, Tema Celeste, January-March, “Abstraction, Advocacy Of”, Illus: “Arcadian Sections”, “Rustic Psyche”, color, pp.74-79
David Carrier, Arts, March, “Afterlight: Exhibiting Abstract Painting in the Era of Its Belatedness”, pp.60-61
Steven Madoff, Art News, April, “A New Lost Generation”, Illus: “The Division of Happiness”, color, pp.72-77
Robert Mahoney, Arts, April, “Review of Stubborn Painting”, pp.90- 91
Dan Cameron, Art & Auction, May, “Critical Edge: The Outlaw Academy”, pp.96,98
Lisa Liebman, Interview, June, “Documenting Documenta”, pp.44,46, 48,50
Gertrud Sandqvist, Svenska Dagbladet, June 21, “Documenta Satter Reglerna Ur Spel”, p.13
Michael Kimmelman, The New York Times, July 5, “At Documenta It’s Survival of the Loudest”, p.27
Kim Levin, Village Voice, July 14, “Jan Who? Docu What?”, pp.95- 96
Mary Murphy, New Art Examiner, Summer, “Consciousness In the Abstract”, Illus: “Rustic Psyche”, b/w, pp.16-20
Collins & Milazzo, Theoretically Yours, catalogue essay for exhibition at Museo Regione Autonoma Della Valle D’Aosta, 224pp., Illus: “Main Event”, color
Rolf Ricke, Editor, Kinder: Macht Neues, catalogue for exhibition at Rolf Ricke Gallery, unpaginated, Illus: “Love’s Rhetoric”, color
Irma Schlagheck, Art, June, “Documenta IX: Riskanter Balanceakt Mit 186 Artisten”, Illus: “To Believe in Food”, color, pp.26-46
Wolfgang Max Faust, Art, June, “Die Kunst Nach Dem Tod Der Modernen Stile: Erste Hilfe Fur Besucher Der Documenta 9”, Illus: “The History of the Boudoir”, color, pp.48,49,51-53
Jan Hoet, Denys Zacharopoulos, Bart De Baere, Pier Luigi Tazzi, et al., Documenta IX, catalogue for exhibition at Kassel, Germany, Illus: “To Believe in Food”, “The History of the Boudoir”, color, 619pp.
Philippe Dagen, Le Monde, June 17, “Jonathan Lasker: Tableaux Froids”
Peter Schjeldahl, Art in America, September, “Documenta of the Dog”, pp.77, 88-97
Anne Ayres, Art Issues, September/October, “Documenta IX”, pp.34-35
Paul Ardenne, Art Press, September, “Jonathan Lasker at Thaddaeus Ropac”, Illus: “Styles of Being”, b/w, p.91
Paolo Levi, Capital, July, “Giovani Informali”, Illus: “To Win at Art”, color, pp.182-184, 186
Martin Kunz, Kunstforum, Issue 119, “U.S.A. – Blickpunkt Eastcoast”, Illus: “To Believe In Food”, “The History of the Boudoir”, color, pp.168, 381
Collins & Milazzo, Who’s Afraid of Duchamp, Minimalism and Passport Photography?, catalogue essay for exhibition at Annina Nosei Gallery, 31 pp.
Jessica Stockholder, Artforum, September, “In the Studio: Mary Heilmann”, pp.76-77
Rosemarie Schwarzwälder, Editor, Abstract Painting Between Analysis and Synthesis, catalogue for exhibition at Gallerie Nächst St.Stephan with international art dialogue directed by Noemi Smolik, paperbound, 155 pp, Illus: “Theoretical Pleasure”, color, “Hark”, b/w
Stephan Goetz, “American Artists in their New York Studies: Conversations about the Creation of Contemporary Art“, Daco-Verlag Guenter Blaese, hardbound, 176 pp., Illus: untitled drawing, 1989, b/w
Craig Adcock, Tema Celeste, Autumn, “Documenta IX”, pp.84-86
Demetrio Paparoni, Tema Celeste, April-June, “L’Arrancia e Il Suo Succo, L’Astrazione Tra Realta e Simulazione”, Illus: “The Cosmic Vernacular”, color, p.59
Luca Beatrice, Tema Celeste, Autumn, “Theoretically Yours”, p.101
Noemi Smolik, Artforum, December, “Kinder Macht Neues!”, p. 105
Charles Dee Mitchell, The Dallas Morning News, December 8, “Jonathan Lasker Epitomizes a New Wave of Abstract Painters”, Illus: “The Happiness of Nations”, color, pp.1C,3C
1993Collins & Milazzo, Metropolis M, February, “Culturele Ontmaskering, Een Vraagesprek Met Jonathan Lasker”, Illus: “Improved Expressions”, “Some Like Love”, “The Happiness of Nations”, color, “The Unlearning”, “Painting for an Invisible Generation”, “Styles of Being”, “Nice N.Y.C.”, b/w, pp.20-25
Carel Blotkamp, Huettenloecher, Lasker, Van Meerendonk, “In Praise of Painting (Crisis? What Crisis?)”, catalogue essay for solo exhibition at Witte de With Center for Contemporary Art, Rotterdam, Holland, Illus: “Cosmic Self-Evidence”, “Infant Wisdom”, “How to Be”,”Reasonable Painting”, “Some Share Eternity”, “The Ecstasy of Logic”, “Painting for an Invisible Generation”, “When Dreams Work”, color, hardbound, 94 pp.
Janneke Wesseling, NRC Handelsblad, February 12, “Het Spook Van De Netvlieskunst”, Illus: “How to Be”, b/w, p.4 of cultural supplement
Joseph Masheck, Modernitites: Art-Matters in the Present, Penn State Press, hardbound, 304pp, Illus: “Spiritual Entertainment”, b/w
Daniel Pinchbeck, Art & Antiques, April, “Openings”, Illus: “Ode to Basketball”, color, p.21
Arthur C. Danto, Artforum, April, “Art After the End of Art”, Illus: “Invective Decor”, color and b/w, cover, pp.3, 62-69
Bert Jansen, Het Financieele Dagblad, March 6, “Witte De With Doet Persoonlijk Verslag Van Gevolgde Route”, Illus: “How To Be”, “Some Like Love”, b/w, p.13
Cornee Jacobs, Utrechts Nieuwsblad, February 23, “Hedendaagse Abstracte Schilders in Witte De With”, Illus: “Some Like Love”, b/w
Vera Iles, Elsevier, February 18, “Kunst of Geen Kunst, Dat is De Vraag Niet”, Illus: “How to Be”, color, p.94
Dolf Welling, Rotterdams Dagblad, February 16, “Op Zijn Hondjes Kijken in Witte De With”
Wilma Suetoe, De Volkskrant, February 18, “Is De Schilderkunst Uitgetput En Voorbij?”
Ann Wiens, New Art Examiner, May, “On View: Jonathan Lasker at Rhona Hoffman Gallery”, Illus: “Selective Identity”, b/w, pp.36-37
Frank Hoenjet, Forum International, May-August ,”Huettenloecher, Lasker and Van Merendonk”, p.132
Rainer Crone and David Moos, Jonathan Lasker, Telling The Tales of Painting; About Abstraction at the End of the Millenium, Edition Cantz, hardbound,189 pp., Illus: 60 oil studies, color
Demetrio Paparoni, Italy-America: Abstraction Redefined, “The Self-Regulation of the System”, catalogue essay for exhibition at Galleria Nazionale D’Arte Moderna, San Marino, Italy, Illus: “Digital Affection”, color, 175 pp.
Birgit Sonna, Sueddeutsche Zeitung, June 15, “Aktuell in Münchener Gallerien: Jonathan Lasker at Bernd Klüser”
Lucia Spadano, Segno, Summer, “Interview with Demetrio Paparoni”, p.36
Arturo Schwarz, Segno, Summer, “Una Mostra Da Non Perdere”, pp.37-39
David Carrier, Segno, Summer, “Italia/America, L’Astrazione Ridefinita”, Illus: “Digital Affection”, color, p.35
Louise Neri, Editor, Parkett, #37, September, “Cherchez La Femme Peintre (an Inquiry), p.143
Kay Larson, New York, October 11, “Jonathan Lasker at Sperone Westwater”, p.82
Peter Plagens, Newsweek, October 11, “Art: The Soho Scene Lights Up: Jonathan Lasker at Sperone Westwater”, Illus: “The Value of Pictures”, color, p.58
Lisa Liebman, The New Yorker, October 18, “Art: Cool Kid; Jonathan Lasker at Sperone Westwater”, p.20
Will Joyner, The New York Times, November 12, “Is It Art? Just Ask Any Child”, pp.C1, C6
Robert Rainwater, The American Livre De Peintre, catalogue essay for exhibition at the Grolier Club, New York, Illus: Drawing for “Not a First”, b/w, p.26
Kathryn Hixson, Forum International, October-November, “Jonathan Lasker at Rhona Hoffman Gallery”, Illus:”Natural Order”, b/w, p.135
Donald Kuspit, Artforum, December, “Jonathan Lasker at Sperone Westwater”, Illus: “Reverse Society”, b/w, p.80
Dan Cameron, Artforum, December, “Book Review of ‘Jonathan Lasker: Telling the Tales of Painting’ “, p.73
Marjorie Wellish, Arthur Danto, Rainer Crone, New York Painters, catalogue essays for exhibition at Sammlung Goetz, Illus: “Inlet”, “The Trophies”, “Cave Painting”, “Standards of Expression”, “Infant Wisdom”, b/w, “Cosmic Self-Evidence”, “Invective Decor”, twelve untitled studies, color, 73pp.
Angelo Trimarcoe, Tema Celeste, Autumn, “Italia/America, L’Astrazione Ridefinita”, Illus: “Digital Affection”, color, pp.68,69
Paul Groot, Daniel Kurjakovic, Vittorio Santaro: Portraits Nudes Clouds, Memory/Cage Editions, hardbound, 93pp., illus: Portrait of the Artist, b/w, p. 47
John Cheim, Diego Cortez, Carmen Gimenez, Klaus Kertess et al., Drawing the Line Against Aids, catalogue for benefit exhibition, Gruppo Editoriale Fabbri S.P.A, softbound, 184 pp., illus: “Untitled” (S-27.25), color
1994Adrian Searle, Unbound: Possibilities in Painting, catalogue essay for exhibition at Hayward Gallery, London, England, Illus: “Public Love”, “Natural Order”, “Reverse Society”, “Styles of Being”, color, cover, pp.66-71
Richard Cork, The London Times, March 8, “Painting is Back in the Picture”, Illus: “Public Love”, b/w, p.35
David Lillington, Time Out, March 9-16, “Zeitgeist”, p.2
Andrew Graham-Dixon, The Independent, March 15, “Sort of, Almost, In a Way, Nearly”, p.15
Waldemar Januszczak, The London Times, Sunday, March 13, “A State of Confusion”, Illus: “Styles of Being”, color, pp.28,29
William Packer, Financial Times, March 15, “Unbound: Possibilities in Painting: Hidebound By Rhetoric”
Philippe Briet, Le Temps D’Un Dessin, catalogue poem for exhibition at École Des Beaux Arts De L’Orient, unpaginated, Illus: untitled drawing, b/w
Francesco Bonami, Flash Art, May-June, “Meaning Can Happen: An Interview with Jonathan Lasker”, Illus: “The Value of Pictures”, “Natural Order”, “The Outsides Are In”, color, pp.94,95
Catherine Milner, London Times Magazine, January 29, “A Brighter Picture”, Illus: “Public Love”, color
David Batchelor, Frieze, May, “Behind a Painted Smile: Unbound at the Hayward Gallery”, Illus: “Public Love”, b/w, pp.18-21
David Carrier, The Aesthete in the City: The Philosophy and Practice of American Abstract Painting in the 1980’s, Penn State Press, hardbound, 290pp., Illus: “Ascension”, “Nature Study”, “Strawberry Fields”, b/w
Anne Marie Monteil, Basler Zeitung, June 14, “Wenn Ungleiches Den Diskurs Versucht: Jonathan Lasker in der Galerie Buchmann”, Illus: “How to be Unique”, color
Demetrio Paparoni, L’Astrazione Ridefinita, Tema Celeste Editions, paperbound, 112pp., Illus: “Rustic Psyche”, “Digital Affection”, color
Peter Plagens, Art & Auction, June, “Crisis in the Contemporary”, pp.76- 78,113
Dan Cameron, Art & Auction, June, “Crisis in the Contemporary: A Response”, pp.79, 113
Michael Archer, Art & Text, May, “Unbound”, Illus: “Public Love “, b/w, p. 85
Tony Godfrey, Chance, Choice and Irony, catalogue essay and interviews for exhibition at Todd and John Hansard Galleries, Illus: “The Politics of Reality”, color, p.72
Adrian Dannatt, Flash Art, Summer, “Painting by Numbers, Three Painting Shows”, pp.120,121
Anonymous, The Assertive Image, catalogue essay for exhibition at Armand Hammer Museum, Illus: “Contemporary Tribalism”, color, p.11
Merete Kildahl, Moss Dagblad, June 3, “Maleri, Kropp Og Rom”, p.28
Anne Lise Stafne, Aftenposten, June 5, “Kropp Rom-Og Dialog”
Ina Blom, Aftenposten, June 17, “Maleriet Som Sted Pa F15”, Illus: “Life Can Be Beautiful”, b/w
Lotte Sandberg, Dagbladet, June 20, “Maleriet Lever Pa Jeloy”
David Lillington, Metropolis M, June, “Unbound”, Illus: “The Pride of Being”, color, pp.52, 53
Daniel Birnbaum, Dagens Nyheter, September 16, “Jonathan Lasker at Lars Bohman”, Illus: “Real Imaginary”, color, p.B3
Jerry Saltz, Art in America, October, “A Year in the Life: Tropic of Painting”, Illus: “Terms of Reality”, color, pp.100- 101
Otto Ocvirk, Robert Stinson, et al., Art Fundamentals, hardbound, 336pp., W.C.S. Brown & Benchmark Press, Illus: “The Division of Happiness”, color
Saul Ostrow, Jonathan Lasker: A Pre-Fab View, catalogue essay for solo exhibition at Bravin Post Lee, 36pp., Illus: “Heath”, “The View from Home Plate”, “5 of Spades”, “Land O’Goshen”, “Crystal Falls”, “Sceptre”, “Greek”, “An Intrusion of Dawn”, “Pre-Fab View”, “Procession”, “Heart in a Whirl”, “Lemon Smash”, color
Eric Van Den Heeg, Material, October, “Interview with Jonathan Lasker”, Illus: “Reverse Society”, b/w
Mark Rosenthal, Atelier, July, “Critiques of Pure Abstraction: Jonathan Lasker”, Illus: “Born Yesterday”, “The Happiness of Cannibals”, color, cover, p.98
Mary Ann Francis, Untitled, Summer, “Chance, Choice and Irony”, p.23
Unauthored, American Painting Now, catalogue for exhibition at Galleries Fossati, Menzio and Rimoldi in Torino, Illus: “The Politics of Reality”, untitled oil study, color
Lorenzo Pittore Soave, Tutti Questi Mondi, catalogue for exhibition at Galleria Carini di Prato, Illus: “How to Be”, color
Peter Schjeldahl, W. Jackson Rushing, Abstraction: A Tradition of Collecting in Miami, catalogue essays for exhibition at the Center for Fine Arts, Miami, FL
Heinrich Klotz, Kunst im 20. Jahrhundert: Moderne, Postmoderne, Zweite Moderne, published by Verlag. C.H. Beck München, paperbound, 211pp.
1995Jack Bankowsky, Artforum, January, “Talk with Klaus Kertess: The Art of the Matter, Curating the Whitney Biennial”, pp.71,104
Brittain Shaw, Houston Chronicle, January 28, “Critiques of Pure Abstraction: Blaffer Exhibit Puts Abstraction in Modern Light”, pp.1-4
Eric James, Houston Daily Cougar, February 1, “Critiques of Pure Abstraction: Blaffer Gallery Goes Abstract”
Josefina Ayerza, Editor, Lacanian Ink, 9, Winter, “Written, Spoken, Drawn in Lacanian Ink”, Illus: untitled drawing, b/w, p.95
Peter Schjeldahl, Jonathan Lasker, “On A Lasker”, catalogue essay for solo exhibition at Soledad Lorenzo Gallery, Madrid, Spain, 38pp., Illus: “The Divergence of Truth and Beauty”, “Articulate Ecstasy”, “Natural Order”, “Expressions of an Uncertain Universe”, “Interpretive Painting”, “The Consciousness of Animals”, five untitled oil studies, color
Jose Ramon Danvila, El Punto de las Artes, Februay 3-9, “Jonathan Lasker at Soledad Lorenzo: Tecnica Directa, Directa Pintura”, Illus: “The Consciousness of Animals”, b/w
Fernando Castro Florez, Diario 16, February 13, “Jonathan Lasker at Soledad Lorenzo Gallery: Una Pintura en Busca de Divergencias”, Illus: “The Divergence of Truth and Beauty”, b/w
Tuula Arkio, Maaretta Jaukkuri, Ars 95 Helsinki, catalogue essays for exhibition at Museum of Contemporary Art, Helsinki, Finland, Illus: “Reverse Society”, color, pp.72,73
Lars O. Ericsson, Dagens Nyheter, February 17, “Ars ’95: Varldskonsten Till Helsingfors”, p.B3
Thomas Fechner-Smarsly, Neue Bildende Kunst, February, “Ars ’95: Standort Bestimmung in Helsinki”, pp.42-45
Thomas Fechner-Smarsly, Frankfurter Rundschau, “Ars ’95: Periphere und Perfide Idyllen”, p.7
Mark Rosenthal, Critiques of Pure Abstraction, catalogue essay for traveling exhibition, unpaginated, Illus: “The Happiness of Cannibals”, color
Ericka Schiche, Public News, February 22, “Critiques of Pure Abstraction: Abstract Divorce”, p.C12
Pablo Jimènez, ABC Cultural, February 24, “Jonathan Lasker at Soledad Lorenzo Gallery: Esplendores De La Pintura”, Illus: “The Consciousness of Animals”, b/w
Francisco Calvo Serraller, El Pais, February 25, “Jonathan Lasker at Soledad Lorenzo Gallery: Pintar en frio”, Illus: “The Divergence of Truth and Beauty”, b/w
George Melrod, Art & Antiques, February, “Openings: Exploring Nature and Line as Metaphor”, Illus: “The Happiness of Nations”, color, pp.29-30
Evelyn Schels, Elle (German Edition), February, “Heiter in den Untergang”, Illus: “The Outsides Are In”, “Moral Fantasia”, “The Value of Pictures”, color, pp.84-88
Arthur Danto, H. Ashley Kistler, et al., Repicturing Abstraction, catalogue essays for exhibition at Virginia Museum of Fine Arts, Illus: “Mantra to a Distracted God”, color, pp.46-47
Thomas Dreher, Pittura Immedia, “Antiquiertheit Der Malerei?”, catalogue essay for exhibition at Künstlerhaus Graz, Illus: “The Politics of Reality”, b/w, pp.27-35
Paul Goldberger, The New York Times Magazine, February 26, “The Art of His Choosing: Klaus Kertess Curates the 1995 Whitney Biennial”, pp.30-38
David Pagel, Los Angeles Times, March 2, “Jonathan Lasker at L.A. Louver: Lasker’s Own Purposeful Purposelessness”, p.F4
Raphael Rubinstein, Art in America, April, “Counter Resolution: Jonathan Lasker’s Approach to Abstraction”, Illus: “Hermeneutic Picture”, “5 of Spades”, “The Realm of the Quaint”, “Interpretive Painting”, “Expressions of an Uncertain Universe”, “Articulate Ecstasy”, color, pp.84-89
Santiago Olmo, Lapiz, April, “Color y Forma, Orden y Caos – Entrevista con Jonathan Lasker”, Illus: “Expressions of an Uncertain Universe”, “The View from Home Plate”, “Lemon Smash”, “Pre-Fab View”, “The Consciousness of Animals”, “Articulate Ecstasy”, “Heart in a Whirl”, “Natural Order”, two untitled oil studies, color, pp.56-63
Howard Risatti, New Art Examiner, April, “On View: Repicturing Abstraction”, Illus: “Mantra to a Distracted God”, b/w, pp.32, 33, 57
Timo Valjakka, Artforum, May, “Letter from Helsinki: Art to Finnish”, pp.27, 28
John Berger, Martin Hentschel, Raimund Stecker, Christoph Schreier, Das Abenteuer Der Malerei, catalogue essays for exhibition at Kunstverein Rheinland-Westfalen, Düsseldorf, Germany and Württembergischer Kunstverein, Stuttgart, Germany, Illus: “The Kissed and the Missed”, “Moral Highlights”, “Articulate Ecstasy”, color, pp.165-167
David Moos, Philip David Zelazo, Architecture of the Mind, catalogue essays for exhibition at Barbara Farber Gallery, unpaginated, Illus: study for “The Eternal Silence of Infinite Space”, color
Paola Van De Velde, Courant Nieuws, April 25, “Architecture of the Mind”
John Gayer, C Magazine, Summer, “Ars 95 at Helsinki”, pp.35-36
Saul Ostrow, Art Press, No. 16, “Un Ensemble Fragmenté: La Peinture Abstraite Aprés le Modernisme”, Illus: “5 of Spades”, “Scottie’s Wasteland”, “Lemon Smash”, color, p.158
George Stolz, Art News, September, “Jonathan Lasker at Soledad Lorenzo”, Illus: “The Divergence of Truth and Beauty”, b/w, p.160
Gerhard Finckh and Ralf Dank, “Positionen Beobachtungen zum Stand der Malerei in den 90er Jahren“, catalogue essays for exhibition at Folkwang Museum, Essen, Germany, Illus: “Infant Wisdom”, “Standards of Expression”, “Invective Decor”, “How to be Unique”, “Artistic Painting”, five untitled oil studies on paper, color, pp.39-49
Olivier Kaeppelin, Morceaux Choisis, “Jonathan Lasker: Public Love”, catalogue essay for exhibition of new F.N.A.C. acquisitions at Centre National d’Art Contemporain, Grenoble, France, Illus: “Public Love”, b/w, pp.119-120
Carlos Basualdo, Virginia Perez-Ratton, Mesotica, catalogue essays for exhibition at Museo de Arte y Diseño Contemporaneo, San Jose, Costa Rica, Illus: “Permanent Expressions”, color, p.41
Manfred Krause, Westdeutsche Allgemeine, June 23, “Meilensteine Im Labyrinth Der Malerei”, Illus: “Infant Wisdom”, “Artistic Painting”, b/w
Ludwig Wintzenburg, Neue Ruhr Zeitung, June 23, “Kunst Positionen Der Beliebigkeit”
Stefan Luddemann, Neue Osnabruecker Zeitung, June 27, “Malen Als Kühle Artistik”, Illus: “Artistic Painting”, b/w
Manfred Krause, Westdeutsche Allgemeine, July 4, “Totgesagte Leben Länger”, Illus: “Artistic Painting”, b/w
Matthias Kampmann, Westfalischer Anzeiger, July 5, “An Der Grenze Des Mediums”, Illus: “Artistic Painting”, b/w, p.6
Sophia Willems, Westdeutsche Zeitung, July 12, “Vom Mehrwert Der Malerei”
Kristina Struck, Evangelische Wochenzeitung für Das Rheinland, July 16, “Beobachtungen Zur Malerei Heute”
Sabine Müller, Kölner Stadt-Anzeiger, July 20, “Positionen In Der Malerei In Den 90er Jahren”
Frans Den Hartog Jäger, NRC Handelsblad, July 21, “Zoeken Naar Waar Verf En Illusie Elkaar Raken”
Anita Shah, Frankfurter Allgemeine Zeitung, July 25, “Der Maler Und Sein Double”
L. Kent Wolgamott, Lincoln Journal Star, November 26, “Critiques of Pure Abstraction at Sheldon Museum”, p.13H
1996Demetrio Paparoni, Tema Celeste, Spring, “Conversation with Jonathan Lasker”, Illus: one untitled drawing, “The Eternal Silence of Infinite Space”, “Swank Sadness”, “Winter Abstraction”, color, pp.48-51
Christopher Knight, Los Angeles Times, February 11, “Critiques of Pure Abstraction: Curatorial Concept in Search of an Enemy”
Richard Milazzo, Tema Celeste, Spring, “L’Indifferenziata E I numana Ultima Cosa”, p.35
Patricia De Peuter, et al., Art at Work, catalogue for group exhibition at Banque Bruxelles Lambert, Belgium, Illus: “Real Imaginary”, color
Stuart Servetar, N.Y. Press, April 10-16, “Jonathan Lasker at Sperone Westwater”, p.89
Pepe Karmel, The New York Times, April 19, “Jonathan Lasker at Sperone Westwater”, p.C22
Anonymous, The New Yorker, April 22, “Jonathan Lasker at Sperone Westwater”
Enrique Juncosa, Arthur Danto, Demetrio Paparoni, Nuevas Abstracciones, catalogue essays for exhibition at Reina Sofia, Madrid, Spain, 175pp., Illus: “Reverse Society”, “Public Love”, “To Believe in Food”, color
Andrew Benjamin, What is Abstraction?, Academy Editions, paperbound, 64pp., Illus: “Expressions of an Uncertain Universe”, “Infant “, “Natural Order”
Claude Briand-Picard, Christophe Cuzin, Antoine Perrot, Peindre? , “Interview with Jonathan Lasker”, Positions Press, paperbound, 156pp.
Tahia Rivero, Ruth Auerbach, Maria Luz Cardenas, Raphael Rubinstein, Fernando Castro Florez, Jonathan Lasker, et al., Transatlantica, The America Non Representiva, catalogue essays for exhibition atMuseo Alejandro Otero, Illus: “Libidinous Prehistory”, color, pp.60,61
Pascale Le Thorel-Daviot, Petit Dictionnaire des Artistes Contemporains, Bordas Press, paperbound, 287 pp., Illus: “The Ecstasy of Logic”, color
Unauthored, Jonathan Lasker, catalogue for 1993 & 1996 exhibitions at Sperone Westwater, New York, unpaginated, Illus: “Sensible Arrangement”, “Winter Abstraction”, “Swank Sadness”, “Supplemental Reality”, “When Trees Become Flowers”, “Nearly Soul”, “The Value of Pictures”, “The Outsides Are In”, “Reverse Society”, “Between Theory and Reality”, “The Pride of Being”, “Moral Fantasia”, color
David A. Greene, Art + Text, May, “Screen at Friedrich Petzel Gallery”, pp.80, 81
David Moos, Jonathan Lasker, et al., Art & Design No.48: Painting in the Age of Artificial Intelligence, paperbound, 92 pp., Illus: “The Divergence of Truth and Beauty”, “The Consciousness of Animals”, “Let Us Become Ultimate”, “Supplemental Reality”, color, frontispiece, pp.6, 7, 10-13, 54-63
Jody Clowes, Isthmus, June 7, “Critiques of Pure Abstraction: Art Vs. Art”
Brooks Adams, Art in America, July, “The Abstract Century”, pp.59-60
Heidi Wiese, Westfälen-Blatt, July 26, “Schönheit ist Wieder Erlaubt: ‘Abstrakte Malerei Heute'”
Ralf Stiftel, Westfälischer Anzeiger, July 26, “Die Schönheit Kehrt Zurück: die Kunsthalle Bielefeld”, Illus: “To Believe in Food”, b/w
Stefan Lüddemann, Neue Osnabrücker Zeitung, July 27, “Kühle Bildstrategien: Abstrakte Malerei Heute”, Illus: “Public Love”, b/w
Manfred Strecker, Neue Westfälische Zeitung, July 27, “Unbeschwert Malen: ‘Abstrakte Malerei Heute'”
Heiner Stachelhaus, Neue Ruhr Zeitung, July 31, “Die Malerei ist Tot Es Lebe die Malerei: Bielefeld Zeigt die ‘Neuen Abstrakten'”
Lawrence Osborne, Peter Astrom, The New York Scene 1996, catalogue essays for exhibition at Gotland’s Konstmuseum, Gotland, Sweden, Illus: “Symetrical Diversions”, color, p.10
Anonymous, Bielefelder Spiegel, August 1, “Abstrakte Malerei Heute Neuvas Abstracciones”, Illus: “To Believe in Food”, b/w, p.20
Veit-Mario Thiede, Main Echo, August 2, “Alles ist Möglich: Abstrakte Malerei Heute”
Michael-Georg Müller, Neue Westfälische Rundschau, August 2, “Geschüttelte Farben und Grosse Formate: ‘Abstrakte Malerei Heute'”
Klaus Zimmer, Cellesche Zeitung, August 6, “Das Erlebnis der Form ist den Künstlern Wichtig: Künsthalle Bielefeld Zeigt ‘ Abstrakte Malerei Heute'”
Veit-Mario Thiede, Trierischer Volksfreund, August 10/11, “An Rosa Schokolade Glauben: Eine Ausstellung in Bielefeld”
Anonymous, Aktuelle Kunst, “Die Malerei der Unbegrenzten Möglichkeiten”, Illus: “Public Love”, “To Believe in Food”, b/w
Anna Moszynska, Untitled, Summer, “New York Round-Up”, p.8
David Moos, Donna De Salvo, Forces of the Fifties, catalogue essays for exhibition at Wexner Center, Columbus, OH, Illus: “Expressions of an Uncertain Universe”, b/w, p.35
Bernhard Burgi, Playpen & Corpus Delirium, catalogue essay for exhibition at Kunsthalle Zurich, Illus: “Rural Geometry”, b/w, pp.42-43
Tony Godfrey, Melissa Larner, et al., The 20th Century Artbook, Phaidon Press, hardbound, 512pp., Illus: “Public Love”, color
W.J.T. Mitchell, R. Feinstein, S. Kaneda, C. Van Schoonbeck, Re: Fab, catalogue essays for exhibition at University of South Florida, Tampa, FL, Illus: “Chimerical Seasons”, “Medium Exaltation”, color, pp.18, 20
Demetrio Paparoni, Tema Celeste, Autumn, “L’Astrazione Ridefinita”, Illlus: “Rustic Psyche”, “Digital Affection”, color, pp.38-39
Arthur Danto, Tema Celeste, Autumn, “The Pure, The Impure and The Non-Pure”, Illus: “To Believe in Food”, “Public Love”, color, p.52
Thomas Kellein, Hans-Michael Herzog, A. Danto, E. Juncosa, Abstrakte Malerei Heute-Nuevas Abstracciones, catalogue essays for exhibition at Kunsthalle, Bielefeld, Germany, Illus: “To Believe in Food”, “Public Love”, color, pp.22-23
Mel Watkin, Martin Ball, Reconditioned Abstraction, catalogue essays for exhibition at Forum for Contemporary Art, St. Louis, MO, 20pp., Illus: “Permanent Expressions”, b/w, “Selective Identity”, color
Eddie Silva, Riverfront Times, November 27-December 3, “Reconditioned Abstraction: The Irony Curtain”, p.1
Robert W. Duffy, St. Louis Post Dispatch, December 1, “Reconditioned Abstraction: It’s Abstract All Right”
1997Eric De Chassey, Camille Morineau, Abstraction/Abstractions: Geometries Provisoires, catalogue essays for exhibition at Musee d’Art Moderne, St. Etienne, France, 224pp., Illus: “Animal Progress”, “Second Nature”, “When Trees Become Flowers”, “The Kissed and the Missed”, color
Richard Polsky, Art Market Guide: Contemporary American Art
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