SARAH CHARLESWORTH				
Selected Biography:		Born:1947; East Orange, NJ
Education:
1969; Bachelor of Arts, Barnard College, New York, NY
Died:
2013; Falls Village, CT
Individual Exhibitions:2017		 LACMA, Los Angeles, CA; “Sarah Charlesworth: Doubleworld” (August 20 - November 26)
		 Maccarone, New York, NY; “Natural Magic” (February 18 - May 6)2015		 New Museum, New York, NY; “Sarah Charlesworth: Doubleworld”, curated by Massimiliano 				Gioni and Margot Norton (June 24 - September 20)
2014		 The Art Institute of Chicago, Chicago, IL; “Stills”, curated by Matthew S. Witkovsky
			(September 18 - January 4) (cat.)
		 Maccarone Gallery, New York, NY; “Objects of Desire: 1983 - 1988” (April 25 - June 14)
2013		 Baldwin Gallery, Aspen, CO; “Available Light” (June 21 - July 21)
2012		 Susan Inglett Gallery, New York, NY; “Available Light” (March 8 – April 14)2010		 Baldwin Gallery, Aspen, CO; “Work in Progress” (July 30 – September 6)2009		 Galerie Tanit, Munich, Germany; “Selected Work 1978-2009” (September 11 – October 31)
		 Susan Inglett Gallery, New York, NY; “Work in Progress” (May 7 – June 13)2007		 Baldwin Gallery, Aspen, CO; “Concrete Color” (November 23 – December 20)
2006		 Margo Leavin Gallery, Los Angeles, CA; “Concrete Color” (October 28 – November 25)
2005
Baldwin Gallery, Aspen, CO; “A Simple Text” (November 25 – December 22)
2003		 Baldwin Gallery, Aspen, CO; “0 + 1” (February 11 – March 10)2002		 Gorney Bravin + Lee, New York, NY; “Neverland” (November 22 – December 21)
2000		 Gorney Bravin + Lee, New York, NY; “0 + 1” (January 08 - February 05)
		 Margo Leavin Gallery, Los Angeles, CA; “0 + 1” (January 15 - February 12)1998		 Fay Gold Gallery, Atlanta, GA; “Doubleworld”
		 Camera Obscura, S. Casciano dei Bagni, Italy (August)
1997-99 Site, Santa Fe, NM; Museum of Contemporary Art, San Diego, CA; National Museum of Women		in the Arts, Washington, DC; Cleveland Center for Contemporary Art, Cleveland, OH; Rose		
Art Museum, Brandeis University, Waltham, MA; “Sarah Charlesworth: A Retrospective”, 		
		
curated by Louis Grachos and Susan Fisher Sterling (cat.)1996		 Margo Leavin Gallery, Los Angeles, CA; “Doubleworld” (February 24 - March 23)
1995		 Jay Gorney Modern Art, New York, NY; “Doubleworld” (October 21 - November 25)
		 S. L. Simpson Gallery, Toronto, Canada; “Doubleworld” (September 28 - October 31)
1993 		 S. L. Simpson Gallery, Toronto, Canada; “Natural Magic” (September 8 - October 5)
		 Galerie Rizzo, Paris, France; “Natural Magic” (April 3 - May 15)
		 Jay Gorney Modern Art, New York, NY; “Natural Magic” (March 20 - April 24)
1992 		 Rena Bransten Gallery, San Francisco, CA; “Renaissance Paintings” (with Judith Barry)			(October 8 - November 7)
		 Galerie Carola Mosch, Berlin, Germany; “Objects of Desire” (June 16 - August 1)
		 The Queens Museum of Art, Queens, NY; “Special Project: Herald Tribune: November, 1977 				
and Herald Tribune: January 18 - February 28, 1991” (February 15 - April 12) (brochure)1991 		 Paley Wright Gallery, London, UK; “Renaissance Paintings”
		 Galerie Xavier Hufkens, Brussels, Belgium; “Renaissance Paintings” (April 26 - May 25)
		 Jay Gorney Modern Art, New York, NY; “Renaissance Paintings & Drawings”
			(March 2 - March 30)
1990 		 S. L. Simpson Gallery, Toronto, Canada; “Academy of Secrets” (November 1 - November 27)
1989 		 Jay Gorney Modern Art, New York, NY; “Academy of Secrets” (April 8 - April 29)
		 Interim Art, London, UK; “Objects of Desire” (April 16 - May 14)
1988 		 Galerie Hufkens Noirhomme, Brussels, Belgium; “Objects of Desire” (June 7 - July 2)

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Individual Exhibitions:1987		 Tyler Gallery, Tyler School of Art, Temple University, Elkins Park, PA; “Objects of Desire”
			(December 3 - January 8, 1988)
		 Margo Leavin Gallery, Los Angeles, CA; “Objects of Desire IV” (April 25 - May 23)
		 International with Monument, New York, NY; “Objects of Desire IV” (April 18 - May 10)1986 		 International with Monument, New York, NY; “Objects of Desire III” (March 8 - March 29)
		 S.L. Simpson Gallery, Toronto, Canada; “Objects of Desire III” (November 28 - December 20)
1985 		 International with Monument, New York, NY; “Objects of Desire III” (March 1 - March 31)
1984 		 California Museum of Photography, Riverside, CA ; “Modern History” (cat.)		 Light Work, Syracuse, NY; “In-Photography”
		 The Clocktower, New York, NY; “Objects of Desire I, In-Photography, Tabula Rasa”
			(April 5 - May 6)
1982 		 Larry Gagosian, New York, NY; “Tabula Rasa” (January 17 - January 23)
		 Tony Shafrazi Gallery, New York, NY; “In-Photography”
		 CEPA Gallery, Buffalo, NY; “In-Photography”, (cat.)1981 		 Galerie Micheline Szwajcer, Antwerp, Belgium; “The White Lady” (September 22 - October 24)
1980 		 Tony Shafrazi Gallery, New York, NY; “Stills” (February 14 - March 5)
1979		 New 57 Gallery, Edinburgh, Scotland; “Modern History: April 21, 1978” and “The Arc of Total 				
Eclipse, February 26, 1979” (cat.)1978 		 C Space, New York, NY; “Second Reading: Herald Tribune, September, 1977”
			
(March 19 - March 30)
		 Pio Monti Gallery, Rome, Italy; “Modern History: April 21, 1978” (August 8 - September)
		 Zona, Florence, Italy; “Modern History: April 20, 1978” (September 4 - October)		 Centre d’Art Contemporain, Geneva, Switzerland; “Modern History: Herald Tribune, September,		
1977 and April 21, 1978”
		 Galerie Eric Fabre, Paris, France; “Modern History: April 21, 1978” and “Osservatore Romano, 				March 17 - May 10, 1978” (October 21 - November)1977 		 MTL Gallery, Brussels, Belgium; “14 Days” (cat.)
Group Exhibitions:2017		 École Nationale Supérieure d’Arts de Paris Cergy, Paris, France; “Le Secret” (May 5 - May 28)
		 Philadelphia Museum of Art, Philadelphia, PA; “Another Way of Telling: Women Photographers 				from the Collection” (April 8 - July 16)
		 Museum für Neue Kunst, Freiburg, Germany; “Dying Well – False Death”
			(May 27 - September 24)
		 Hessel Museum of Art, Annandale-on-Hudson, NY; “Picture Industry” (June 24 - December 15)
		 Birmingham Museum of Art, Birmingham, AL; “Third Space/Shifting Conversations About 				Contemporary Art” (January 28 - January 6, 2019)
		 Campoli Presti, London, UK; “Plages” (February 17 - March 18)
2016-17 J. Paul Getty Museum, Los Angeles, CA; “Breaking News: Turning the Lens on Mass Media”
			(December 20, 2016 - April 30, 2017)
		 Campoli Presti, Paris, France; “Sarah Charlesworth - Liz Deschenes”
			(October 20, 2016 - January 14, 2017)2016		 Walker Art Center, Minneapolis, MN; “Ordinary Pictures” (February 27 - October 9)		 Miguel Abreu Gallery, New York, NY; “In Place Of” (January 10 - February 21)
		 Los Angeles County Museum of Art, Los Angeles, CA; “Physical: Sex and the Body in the 1980s”
		(March 20 - July 31)
		 Elizabeth Dee Gallery, New York, NY; “Every Future Has a Price: 30 Years After Infotainment” 				(October 29 - December 17)
		 Art Museum at the University of Toronto, Toronto, ON; “Counterpoints: Photography Through the		Lens of Toronto Collections” (May 6 - July 30)
		 Albright Knox Art Gallery, Buffalo, NY; “For the Love of Things: Still Life” (February 27 - May 29)
2015-16 Museum of Contemporary Art, Los Angeles, CA; “The Art of Our Time” (August 15, 2015 - 				
September 12, 2016)

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Group Exhibitions:		 The Metropolitan Museum of Art, New York, NY; “Reconstructions, Recent Photographs and Video		
from the Met Collection” (September 21, 2015 - March 13, 2016)
		 Fondazione Prada, Milan, Italy; “Recto Verso” (December 3, 2015 - February 14, 2016)2015		 Whitney Museum of American Art, New York, NY; “America Is Hard To See” curated by Donna 				
De Salvo et al. (May 1 - September 27)
		 White Columns, New York, NY; “Looking Back / The 9th White Columns Annual”
		(January 13 - February 21)
		 Karma, Amagansett, NY; “Popular Images” (June 13 - July 5)
		 Villa du Parc, Annemasse, France; “The Appropriationnist (Against and With)”			(January 16 - March 14)
		 Burlington City Arts, Burlington, VT; “Taking Pictures” (January 30 - April 4)2014		 Museum Folkwang, Essen, Germany; “(Mis)Understanding Photography” (June 14 - August 17)
		 On Stellar Rays, New York, NY; “No Drink No Talk Just Beautiful”, curated by Mary Simpson
			(June 28 - August 1)
		 Gallery Lelong, New York, NY; “Re-Framing History” (March 21 - April 26)
		 Murray Guy Gallery, New York, NY; “Someone Like Me” (January 16 - February 22)
		 Whitney Museum of American Art, New York, NY; “Whitney Biennial” curated by Stuart Comer, 				Anthony Elms, Michelle Grabner (March 7 - May 25) (cat.)2013		 Wallspace Gallery, New York, NY; “Ten Years” (June 27 - August 2)
2012		 The Art Institute of Chicago, Chicago, IL; “Photography from the Collection of the Art Institute of		
Chicago” (May 1 – December 1)
		 National Gallery of Art, Washington, DC; “Shock of the News”, curated by Judith Brodie			(September 23 – January 27, 2013)
		 Margo Leavin Gallery, New York, NY; “Arctic Summer” (July 31 - September 29)
		 Fort Worth Contemporary Arts, Fort Worth, TX; “Color Pictures”, curated by Frances Colpitt
			(March 3 – April 14)
2011-12		 Neuberger Museum of Art, Purchase, NY (January 15 – April 3) The Nasher Museum of Art, 				Durham, NC (August 25 – December 5), Contemporary Arts Museum Houston, TX(January 21 – April 15, 2012); “The Deconstructive Impulse: Women Artists Reconfigure the		
Signs of Power, 1973-1992”, curated by Helaine Posner and Nancy Princenthal
2011		 Berkeley Art Museum, Berkeley, CA; “Sun Works” (November 9 – May 6, 2012)
		 MoMA PS1, Long Island City, NY; “September 11”, curated by Peter Eleey			(September 11 – January 9, 2012)		 C/O Berlin, Berlin, Germany; “The Uncanny Familiar: Images of Terror”, curated by Felix 				
Hoffmann (September 10 – December 4)
		 Moderna Museet, Stockholm, Sweden; “Another Story: Photography from the Moderna Museet 				Collection” (February 1, 2011 – February 19, 2012)
		 Victoria and Albert Museum, London, UK; “Signs of a Struggle: Photography in the Wake of 				
Postmodernism”, curated by Marta Weiss (August 11 – November 27)
		 Hudson Valley Center for Contemporary Art, Peekskill, NY, “CIRCA 1986: The ‘80s from Six 				
Important New York Art Collections”, (September 18 – July, 2012)2010		 Whitney Museum of American Art, New York, NY; “Singular Visions: A Selection of Seldom - 				Seen Postwar Works From The Whitney’s Collection”, curated by Dana Miller and Scott 				
Rothkopf, (December 16 - August 5, 2012)
		 New Museum, New York, NY; “The Last Newspaper”, curated by Richard Flood and Benjamin 				Godsill, (October 6 – January 9, 2011)
		 Corcoran Gallery of Art, Washington, D.C.; in conjunction with “Helios: Eadweard Muybridge in 				
a Time of Change”, curated by Philip Brookman, Interpretation Gallery Exhibition, curated 				
by Linda Powell, (April 10 - July 18)
		 Solomon R. Guggenheim Museum, New York; NY (March 26 – September 6), Guggenheim 				Museum, Bilbao (November 9 – March 13, 2011); “Haunted: Contemporary Photography/				Video/Performance”, curated by Jennifer Blessing & Nat Trotman (cat.)		 Museum für Photographie, Braunschweig, Germany; “Rhetorik der Bilder” (“Rhetoric of 					Images”), curated by Florian Ebner (March 12 – April 25)

4Group Exhibitions:		 Musée d’Art Moderne et d’Art Contemporain, Nice, France; “Human” (June 12 - October 31)
		 Walker Art Center, Minneapolis, MN; “Abstract Resistance”, curated by Yasmil Raymond			(February 27 – May 23)
		 Kunstmuseum St. Gallen, St. Gallen, Switzerland (January 30 – June 20), Museum der 				Moderne, Salzburg, Austria (July 3 – October 24); “Press Art: The Collection of Annette and		Peter Nobel”, curated by Christoph Doswald (cat.)		 Leslie Tonkonow Gallery, New York, NY; “Merry Christmas Mr. Ordover” (July 28 – September 3)
		 Renwick Gallery, New York, NY; “Held Up By Columns” (July 8 – August 6)
2009		 APF Lab & The American Standard Gallery, New York, NY; “Small Packages”
			(September 16 – October 10)
		 Sue Scott Gallery, New York, NY; “We’re All Gonna Die”, curated by Ron Keyson			(June 25 – July 31)
		 Le Magasin, Centre National d’Art Contemporain, Grenoble, France; “Images et			(Re)Presentations”, curated by Yves Aupetitallot (May 25 – September 6) (cat.)				 The Metropolitan Museum of Art, New York, NY; “The Pictures Generation, 1974 -1984”, curated
		by Doug Eklund (April 21 – August 2) (cat.)		 Susan Inglett Gallery, New York, NY; The Armory Show (March)		 The American Standard Gallery, New York, NY; “Better History” (March 12 – May 9) (cat.)		 Fotomuseum Winterthur, Switzerland; “Printed Matter” (February 17 – October 11)
		 Guild and Greyshkul, New York, NY; “On From Here” (February 6 - February 8)
		 Lehmann Maupin, New York, NY; “The Glamour Project” (February 23 – March 21)
		 Harris Lieberman, New York, NY; “A Twilight Art” (January 17 - February 28)
2008		 The American Standard Gallery, Miami, FL; (December)		 Sue Scott Gallery, New York, NY; “Legerdemain” (November 14 - December 20)
		 Margo Leavin Gallery, Los Angeles, CA; “Summer 2008” (May 31 – August 9)
The Metropolitan Museum of Art, New York, NY; “Photography on Photography: Reflections on		
the Medium Since 1960” (April 8 - October 19)
		 Guild & Greyshkul, New York, NY; “The Human Face is a Monument” (March 30 - May 3)
		 Fotomuseum Winterthur, Switzerland; “Jedermann Collection – Set 5 from the Fotomuseum 				Winterthur Collection” (March 1 - October 12) (cat.)2007		 Zimmerli Art Museum, Rutgers; The State University of New Jersey, New Brunswick, NJ,			“A New Reality: Black-and-White Photography in Contemporary Art.” (September 1 – 				
November 25) (cat.)		 Rose Art Museum, Brandeis University, Waltham, MA; “RoseArt: Works from the Permanent 				Collection” (January 25 – April 1)
		 The Foundation To-Life Exhibition Space, Mount Kisco, NY; “Making and Finding” curated by 				
Katy Siegel
2006		 Aspen Art Museum, Aspen, CO; “Belief and Doubt” (August 4 – October 1)
		 Tony Shafrazi Gallery, New York, NY; “The Other Side” (May 5 – June 30)
		 The Metropolitan Museum of Art, New York, NY; “Recent Acquisitions in Contemporary 					
Photography” (April 4 – October 15)
		 Addison Gallery of American Art, Andover, MA; “75 Years of Collecting American Photography”
			(April 28 – July 31)
		 Grey Art Gallery, New York, NY (January 10 – April 1), The Andy Warhol Museum, Pittsburgh, PA			(May 27 – September 3); “The Downtown Show: The New York Art Scene, 1974 -1984”,
			
curated by Carlo McCormick in consultation with Lynne Gumpert and Marvin J. Taylor
2005		 Von Lintel Gallery, New York, NY; “The Photograph in Question” (June 9 – July 29)		 Princeton University Art Museum, Princeton, NJ; “For Presentation and Display: Some Art of the		
80s” curated by Johanna Burton and Hal Foster (March 19 – June 12)
		 Kunstmuseum Basel, Switzerland; “Covering the Real” (May 1 – August 21) (cat.)		 New Britain Museum of American Art, New Britain, CT; “Contemporary Photography in the Age 				of Mechanical Reproduction” (January 15 – March 13)		5Group Exhibitions:
		 New Museum of Contemporary Art, New York, NY; “East Village USA,”			(December 9 – March 19)
2004
The Wexner Center for the Arts, Columbus, OH; “Visions from America” (July - August)		 Solomon R. Guggenheim Museum, New York, NY (June 4 – September 8), Guggenheim Museum		
Bilbao, Bilbao, Spain (November 25, 2005 – March 22, 2006); “Speaking with Hands, 				
Photographs from the Buhl Collection” (cat.)		 Charles Cowles Gallery, New York, NY; “Unframed” edition produced for ACRIA: Aids 					Community Research Initiative (April)		 The Art Institue of Boston At Lesley University, Boston, MA: ”Breathtaking” (March 31 – May 14)
		 Walker Art Center, Minneapolis, MN (October 11 – January 4), UCLA Hammer			(February 8 – May 11), Museo de Arte Contemporanea, de Vigo, Spain (May 28 – 					
September 19), Fotomuseum Winterthur, Switzerland (November 26 - February 13, 2005), 		
		
Miami Art Central, Miami, Florida (March 10 - June 12, 2005); “The Last Picture Show: 				
Artists Using Photography 1960-1982”; curated by Douglas Fogle (cat.)2003		 Margo Leavin Gallery, Los Angeles, CA; “Sarah Charlesworth, Louise Lawler and Laurie 				Simmons: Designs for Living” (September 6 – October 4)
		 Margo Leavin Gallery, Los Angeles, CA; “Raid the Icebox” (March 22 – April 26)
		 Orlando Museum of Art, Orlando, FL; “Constructed Realities: Contemporary Photography”
			(March 8 – May 18) (cat.)		 Memphis College of Art, Memphis, TN; “Cold Comfort” (January 13 – February 13)
		 Southeast Museum of Photography, Daytona Beach, FL; “Off the Press: Recontextualizing the 				Newspaper in Contemporary Art” (March 25 - May 25) (cat.)2002		 Whitney Museum of American Art, New York, NY; “Visions from America: Photographs from 				
the Whitney Museum of American Art, 1940-2001”, curated by Sylvia Wolfe			(June 27 – September 22)
		 National Museum of Women in the Arts, Washington DC; “Feminism and Art: Selections from the		Permanent Collection” (June – August)		 The Victoria and Albert Museum, London; “Seeing Things: Photographing Objects, 1850-2001”
			(February 21 – August 18) (cat.)
The Site Gallery, Sheffield, UK; “Con Art: Magic/Object/Action”, curated by Helen & Pier Giorgio		
Varola (February 16 - April 6)2001		 Tang Museum, Saratoga Springs, NY; “Still Photography: Works from the Tang Collection”, 		
		
curated by Charles Stainback (June 16 – August 16)
		 Kunsthalle Wien, Vienna, Austria; “Tele[visions]”, curated by Joshua Decter			(October 18 – January 6, 2002)
		 Skidmore College, Saragota Springs, NY; “Still Photography” (June 16 – August 26)
		 Gallery Camino Real, Boca Raton, FL; “Photo-Synthesis”, curated by Douglas Maxwell			
(January 11 – February 3)
2000		 Collection Lambert en Avignon, France; “Rendez-Vous 1” (June 27 - October 1)
		 De Saisset Museum, Santa Clara, CA; Brauer Museum, Valparaiso, IN; “The One Chosen”
		(August 2000 - November 2001)
		 Contemporary Arts Center, New Orleans, LA; “Photography Now”, curated by David Rubin			(July 15 – September 24)
		 Museum of New Mexico, Museum of Fine Arts, Sante Fe, NM; “20/20 Twentieth Century 				
Photography Acquisitions”, (February 4 – August 20)
1999		 Whitney Museum of American Art, New York, NY; “The American Century: Art & Culture			
1950-2000” (September 26 - February 27, 2000) (cat.)		 Nexus Contemporary Art Center, Atlanta, GA; “Double Vision”, curated by Michael Pittari
1998		 Museo Santa Maria Della Scala, Siena, Italy; “Civic Art In Sienese Villages: Three Contemporary		Artists Create Public Works”, curated by Cornelia Lauf (September 11 - October)
		 Dorfman Projects, New York, NY; “The Tip of the Iceberg: A Response to New York Museums”,
		curated by Bill Bartman (March 28 - April 25)
		 Art Museum of South Texas, Corpus Christi, TX; “From The Heart: The Power of Photography 			A Collector’s Choice”, curated by Adam D. Weinberg (March 6 - June 7)

6Group Exhibitions:1997		 International Center of Photography, New York, NY; “Eye of the Beholder: Photographs from the		Avon Collection” (September 12 - November 13)
Milwaukee Art Museum, Milwaukee, WI; “Identity Crisis: Self Portraiture at the End of the 				Century”, curated by Dean Sobol (September 12 - November 16) (cat.)		 California Center for the Arts Museum, Escondido, CA; “Table Tops: Morandi’s Still Lifes to 				
Mapplethorpe’s Flower Studies” (September 21 - January 21, 1998)
Thomas J. Walsh Art Gallery, Quick Center for the Arts at Fairfield University, Fairfield, CT; “The		
One Chosen: Images of Christ in Recent New York Art” (April 18 - May 31) (cat.)1996		 Nicole Klagsbrun Gallery, New York, NY; (December 14 - January 18, 1997) Bernard Toale 				
Gallery, Boston, MA; (December 14 - January 18, 1997) “Making Pictures: Women and 				
Photography, 1975-Now”, curated by Nicole Klagsbrun
		 Museum of Contemporary Art, Los Angeles, CA; “Just Past: The Contemporary in M.o.C.A.’s 				Permanent Collection, 1975-96” (September 29 – January 19, 1997)		
		 S. L. Simpson Gallery, Toronto, Canada; “Sarah Charlesworth, Louise Lawler, Ian Wallace”
			(July 5 - July 26)
		 Los Angeles County Museum of Art, Los Angeles, CA; “Some Grids”, organized by Carol S. Eliel			
and Lynn Zelevansky
		 The Clocktower Gallery, Institute of Contemporary Art, New York, NY; “Model Home,” organized		by Alanna Heiss and Sabina Streeter (February 26 - March 31) (cat.)		 S.L. Simpson Gallery, Toronto, Canada; “Sarah Charlesworth, Hannah Collins, General Idea, 				
Laurie Simmons, Carolyn White”
1994		 Christinerose Gallery, New York, NY; “Chasing Angels” (December 3 - January 21, 1995) (cat.)		 Musée d’art moderne et contemporain (MAMCO), Genève, Switzerland; “Rudiments d’un Musée			
Possible 1” (September 23 - January 29, 1995)
		 Whitney Museum of American Art, New York, NY; “From the Collection: Photography, Sculpture,
		 Painting”
		 Offshore Gallery, East Hampton, NY; “Seasights”, curated by Nessia Pope			
(November 12 - December 31)
		 School of the Art Institute of Chicago, Chicago, IL; “Transmitting the Truth: Reformulating News		Media Information” (September 2 - October 19)
		 The InterArt Center, New York, NY; “Gift”, organized by Gideon Ponte, Birgit Spears & Neville 		Wakefield
		 The Art Museum at Florida International University, Miami, FL; “American Art Today: Heads Only”,
		curated by Dahlia Morgan (April 8 - May 6) (cat.)		 Thread Waxing Space, New York, NY; “Don’t Look Now”, curated by Josh Decter			(January 22 - February 26) (cat.)		 Carl Solway Gallery, Cincinnati, OH; “Desire & Loss” (January 15 - April 2)
1993-96 Neuberger Museum, Purchase, NY; Virginia Beach Center for the Arts, Virginia Beach, VA; 		
		
University Gallery, Univ. of North Texas, Denton, TX; Art Gallery, Sir Wilfred Grenfell 				College, Univ. of Newfoundland, Newfoundland, NS, Canada; Mackenzie Art Gallery, 				Regina, Sas., Canada; The Gallery/Stratford, Stratford, Ont., Canada; California Center for		
the Arts, Escondido, CA; Selby Gallery Ringling School of the Arts, Sarasota, FL; The Rubelle& Norman Schafler Gallery, Pratt Institute, Brooklyn, NY; “Empty Dress: Clothing as			Surrogate in Recent Art”, curated by Nina Felshin for Independent Curators Intl. (cat.)
1993-94 Center for the Fine Arts, Miami, FL; Museo Amparo, Puebla, Mexico; Centro Cultural Consolidado,		
Nacional de Bellas Artes, Buenos Aires, Argentina; Museo Nacional de Bellas Artes, 				Santiago, Chile; “Photoplay: Works from the Chase Manhattan Collection”, organized by Lisa
		Phillips in association with Manuel E. Gonzalez (cat.)		 International Center of Photography, New York, NY; Institute of Contemporary Art, Boston, MA; 		
		
Laguna Art Museum, Laguna Beach, CA ; “Commodity Image” (cat.)1993		 Nassau County Museum of Art, Roslyn Harbor, NY; “Image Makers”, curated by Franklin Hill 				
Perrell and Constance Schwartz (October 3 - January 2, 1994) (cat.)		 The Drawing Center, New York, NY; “The Return of the Cadavre Exquis”
			(November 6 - December 18) (cat.)7Group Exhibitions:Raab Galerie, Berlin, Germany; Galleria Gian Ferrari Arte Contemporanea, Milano, Italy; “Vivid:
		Intense Images by American Photographers”, curated by Victoria Espy-Burns
			(May 19 - July 31)
		 The Herbert F. Johnson Museum of Art, Cornell University, NY; “Up Close: Chemistry Imagined 				
Photogenics: Contemporary Art from the Mallin Collection” (April 2 – June 13)
		 Donna Beam Fine Art Gallery, University of Nevada, Las Vegas, NV; “From New York: Recent 				
Thinking in Contemporary Photography” (March 1 - March 28)
		 L’Espace Lyonnais d’Art Contemporain, Lyon, France; “Here’s Looking At Me / A Mes Beaux Yeux:		
Autoportraits Contemporains”, curated by Bernard P. Brunon (January 29 - April 30) (cat.)
1992-93 Art Gallery of New South Wales, Sydney, Australia (sponsor, & various local sites); “The Boundary		Rider: 9th Biennale of Sydney”, curated by Anthony Bond (December 15 - March 14) (cat.)		 The New Jersey Center for Visual Arts, Summit, NJ; “New Jersey Collects: Photography”, curated		by Ellyn Dennison, Sharon Gill, and Perijane Zarembok (November 15 - January 8, 1993)
1992		 Centro Cultural Arte Contemporaneo, Polanco, Mexico; “The Disasters of War”
		 International Center of Photography, New York, NY; “The Photographic Order from Pop to Now”
		
(July 31 - October 16) (cat.)
The Aldrich Museum of Contemporary Art, Ridgefield, CT; “Quotations: The Second History of Art”,		
organized by Barry Rosenberg (May 16 - September 20) (cat.)		 University Art Museum, Santa Barbara, CA; The Santa Monica Museum of Art, Santa Monica, CA;		The North Carolina Museum of Art, Raleigh, NC; “Knowledge: Aspects of Conceptual Art” 				curated by Frances Colpitt and Phyllis Plous (cat.)1991		 Tony Shafrazi Gallery, New York, NY; “A Passion for Art: Watercolors and Works on Paper”
		(December 7 - January 25, 1992)
		 Norton Gallery of Art, West Palm Beach, FL and Samuel P. Harn Museum of Art at the Univ. of 				
Florida, Gainesville, FL; “Southeast Bank Collects: A Corporation Views Contemporary Art”,		
curated by Lisa Liebmann (December 1 - February 9, 1992) (cat.)		 Palazzo delle Albere, Museo d’Arte Moderna e Contemporanea di Trento e Rovereto, Trento, 				
Italy; “American Art of the 80’s”, curated by Gabriella Belli and Jerry Saltz
			(December 18 - March 1, 1992) (cat.)		 Victoria and Albert Museum, London, UK; “Postmodern Prints” (July 17 - October 27)
		 Barbara Mathes Gallery, New York, NY; “The Conceptual Eye”
		 Setagaya Art Museum, Tokyo; The National Museum of Art, Osaka; Fukuoka Art Museum,			Fukuoka, Japan; “Beyond the Frame: American Art 1960-1990”, curated by Lynn Gumpert 				 (cat.)		 National Museum of American Art, Smithsonian Institution, Washington, DC; “Motion and 				
Document - Sequence and Time: Eadweard Muybridge and Contemporary American 				
Photography”, curated by James Sheldon and Jock Reynolds (cat. – travelling show)
		 Robert Miller Gallery, New York, NY; Lorence Monk Gallery, New York, NY; “In a Dream... 		
		(portfolio published by Photographers and Friends Against AIDS)”
		 Museum of Contemporary Art, Los Angeles, CA; “Recent Work / Recent Acquisitions”
		(January 20 - February 17)
		 Samuel P. Harn Museum of Art, University of Florida, Gainesville, FL; “Images from the Eighties
		Part 1, American Paintings and Drawings from the Samuel P. Harn Museum of Art’s 				
Skowhegan Collection”
		 New Museum of Contemporary Art, New York, NY; “The Interrupted Life”, curated by France Morin		(September 13 - December 29) (cat.)		 Cleveland Center for Contemporary Art, Cleveland, OH; “Cruciformed: Images of the Cross			
Since 1980” (cat.)		 Museum of Contemporary Art, Los Angeles, CA; “Selections from the Permanent Collection:			
1975-1991” (August 25 - December 15)
		 Foto e.V. München und Barbara Gross Galerie, München, Germany; “Das Sibyllinische Auge:			
Fotokünstlerinnen aus dem Anglo-Amerikanischen Raum”, curated by Isabelle Graw and			
Pia Lanzinger (January 9 - February 3) (cat.)1990		 Museum of Fine Arts, Boston, MA; “Figuring the Body”, curated by Trevor Fairbrother and8Group Exhibitions:			
Kathy Halbreich (July 28 - October 28)
		 Krygier/Landau Contemporary Art, Santa Monica, CA; “Prints and Multiples”
		 Galleri Nordanstad-Skarstedt, Stockholm, Sweden; “Disconnections” (March 26 - April 21)
		 XPO Galerie, Hamburg, West Germany; “The Point of View”
		 White Columns, New York, NY; “Fragments, Parts, Wholes; The Body & Culture”				 International Center of Photography, New York, NY; Los Angeles Municipal Art Gallery,			
Los Angeles, CA; “The Indomitable Spirit” (February 9 - April 7) (cat.)
		 Galerie Samia Saouma, Paris, France; “Figures et Lectures” (June 7 - July 21)
		 Leo Castelli Gallery, New York, NY; Gallery, Milan, Italy; “Taking the Picture: Photography and 				
Appropriation”, curated by Manuela Gandini (April 7- April 28)
		 Feigen Gallery, Chicago, IL; “Sarah Charlesworth, Jeanne Dunning, Annette Messager, Adrian 				Piper, Laurie Simmons” (March 30 - April 28) (cat.)		
		 Hallwalls Contemporary Arts Center, Buffalo, NY; “Insect Politics: Body Horror / Social Order”
			(March 17 - April 13)
		 Nicola Jacobs Gallery, London, UK; Third Eye Center, Glasgow, Scotland; “Reorienting: Looking
		East”, curated by Lynne Cooke (cat.)
1989-90 Cambridge Darkroom, Cambridge; City Museum and Art Gallery, Stroke-on-Trent; Newport 				Museum and Art Gallery; Harris Museum and Art Gallery, Preston (all England); “Shifting 				Focus: An International Exhibition of Contemporary Women’s Photography”, curated by 		
Susan Butler for The Arnolfini Gallery, Bristol and The Serpentine Gallery, London (cat.)1989		 Whitney Museum of American Art, New York, NY; “Image World: Art and Media Culture”, curated
		by Marvin Heiferman and Lisa Phillips (November 9 - December 2) (cat.)		 The Serpentine Gallery, London, UK; “Shifting Focus” (June 30 - August 28)
		 Messepalast, Vienna, Austria; Moskau - Wien - New York: “Kunst zur Zeit”, curated by Viktor 				Misiano and Oliver Wasow (cat.)
Aldrich Museum of Contemporary Art, Ridgefield, CT; “Selections from the Collection of Marc and			Olivia Straus” (June 24 - October 8) (cat.)
		 Editions Ilene Kurtz, New York, NY; “Sarah Charlesworth and Laurie Simmons: Prints & 				
Photographs” (April 28 - May 29)
		 Vienna Secession, Vienna, Austria; “The Play of the Unsayable-Wittgenstein and the Art of the 				XXth Century”, curated by Joseph Kosuth (cat.)		 Frac Rhône-Alpes, Lyon, France; “Avant 1989”, curated by Haim Steinbach (cat.)		 Emerson Gallery, Hamilton College, Clinton, NY; Anderson Gallery, Virginia Commonwealth 				
University, Richmond, VA; “Abstraction in Contemporary Photography”,
			curated by Jimmy De Sana (cat.)		 Hirschl & Adler Modern, New York, NY; “Departures: Photography 1924-1989”
			(November 2 - December 2)
		 Grita Insam Gallery, Vienna, Austria; Museum voor Hedendaagse Kunst Het Kruithuis, 			
		
Hertogenbosch, Netherlands; “Vis-A-Vis: Aspects of Contemporary Portrait Photography”
		 Thomas Segal Gallery, Boston, MA; “Camera Culture”, curated by Brent Sikkema
			(September 16 - October 18)
		 Art Center College of Design, Pasadena, CA; “Fauxtography”, curated by Nora Halpern Brougher			(September 16 - October 25)
		 S. L. Simpson Gallery, Toronto, Canada; “Sarah Charlesworth, Christine Davis, Judith Schwarz”
			(July 22 - August 30)
		 International Center of Photography, New York, NY; “Culture Medium: A Notion of Truth”, curated
		by Charles Stainback (July 21 - September 3) (cat.)
		 Nicola Jacobs Gallery, London, UK; “Subject: Object” (cat.)
Tony Shafrazi Gallery, New York, NY; “Don’t Bungle the Jungle! A benefit exhibition for the		
rainforest” (June 3 - June 30)
		 Museum of Contemporary Art, Los Angeles, CA; “A Forest of Signs: Art in the Crisis of 					
Representation”, curated by Mary Jane Jacob and Ann Goldstein (May 5 - August 13) (cat.)		 Josh Baer Gallery, New York, NY; “Natura-Naturata (An Argument for Still-Life)”, curated by 				
Cornelia Lauf (March 4 - March 11)9Group Exhibitions:		 National Museum of American Art, Smithsonian Institution, Washington, DC; The Museum of 				
Contemporary Art, Chicago, IL and Walker Art Center, Minneapolis, MN; “The Photography of		Invention: American Pictures of the 1980s”, curated by Joshua P. Smith and Merry A. Foresta
		 (cat.)		 The Squibb Gallery, Princeton, NJ.; “Fictive Strategies; Actuality and Originality in Contemporary		Photography”, curated by Joseph Rauch (February 26 - April 2) (cat.)		 Salama-Caro Gallery, London, UK; “International Camera” (January 27 - February 25)
		 The John and Mable Ringling Museum of Art, Sarasota, FL; Center for the Fine Arts, Miami, FL;			“Contemporary Perspective I: Abstraction in Question”, curated by Bruce Ferguson, Joan 				Simon and Roberta Smith (cat.)		 Wight Art Gallery, University of California, Los Angeles, CA; Joslyn Museum of Art, Omaha, NE;		
Neuberger Museum, Purchase, NY; Akron Art Museum, Akron, OH; “Selected Works from the		Frederick R. Weisman Foundation” (cat.)
Carleton Art Gallery, Carleton College, Northfield, MN; Women’s Art Registry of Minnesota,
		
Minneapolis, MN; “What Does She Want?: Current Feminist Art from the First Bank 				Collection”, curated by Lynne Sowder and Nathan Braulick (cat.)1988		 The University of North Texas Art Gallery, Denton, TX; The J. B. Speed Art Museum, Louisville, 				LA; Alberta College Gallery of Art, Alberta, Canada; The Cincinnati Contemporary Art Center,		Cincinnati, OH, Richard F. Brush Art Gallery, Santa Fe Community College Art Gallery, Santa		
Fe, NM; “Hybrid Neutral: Modes of Abstraction and the Social”, curated by Tricia Collins & 				Richard Milazzo for Independent Curators Intl. (cat.)		 Jay Gorney Modern Art, New York, NY; “Gallery Artists” (January 9 - January 30)
		 Carpenter Center for the Visual Arts, Harvard University, Cambridge, MA; “Fabrications”, curated
		by Anne Hoy (book)		 Robert Koch Gallery, San Francisco, CA; “Photography in Art Today”
		 Artculture Resource Center, Toronto, Canada; “The Discursive Field of Recent Photography”, 		
		
curated by Tom Folland
		 Rooseum, Malmö, Sweden; “Art at the End of the Social”, curated by Collins & Milazzo (July 29 		
October 2) (cat.)		 Haggerty Museum of Art, Marquette University, Milwaukee, WI; “Photography on the Edge” 				(March 24 – June 8) (cat.)
		 Wallach Art Gallery, Columbia University, New York, NY; “Sexual Difference: Both Sides of the 				
Camera”, curated by Abigail Solomon-Godeau (March 24 - May 7) (cat.)		 Greenville County Museum of Art, Greenville, SC; “Just like a Woman”
		 Burden Gallery / Aperture Foundation, New York, NY; “The Return of the Hero”,
			curated by Karen Marta
		 White Columns, New York, NY; “Female (Re)production”, curated by Marilu Knode			(January 28 - February 20)
		 Scott Hanson Gallery, New York, NY; “Media / Post Media”, curated by Collins and Milazzo			(January 6 - February 9) (cat.)
1987-88 Sala de Exposiciones de la Fundacion Caja de Pensiones, Madrid, Spain; Fundacio Caixa de 				Pensions, Barcelona, Spain; “Art and Its Double: A New York Perspective”, curated by Dan		Cameron (cat.)1987		 Barbara Toll Fine Arts, New York, NY: “Monsters: The Phenomena of Dispassion”, curated by 				
Dennis Kardon and Maria Reidelbach
		 The John and Mable Ringling Museum of Art, Sarasota, FL; Akron Art Museum, Akron, 			
		OH; Chrysler Museum, Norfolk, VA: “This is not a Photograph: Twenty Years of Large Scale		
Photography; 1966 - 1986”, curated by Joseph Jacobs (cat.)		 Whitney Museum of American Art at Champion Plaza, Stamford, CT; Whitney Museum of 				
American Art at Equitable Center, New York, NY; “Contemporary Diptychs: The New Shape of		Content”, curated by Roni Feinstein (cat.)		 University Art Gallery, San Diego State University, San Diego, CA; “Industrial Icons”
		 Sidney Janis Gallery, New York, NY; “Recent Tendencies in Black and White”,
			curated by Jerry Saltz (December 3 - December 24) (cat.)10Group Exhibitions:
		 Alternative Museum, New York, NY; “The Surrealist Legacy in Post Modern Photography”,
			curated by Roger Denson (November 14 - December 23)
		 Musee St. Pierre, Espace Lyonnais d’Art Contemporain, Lyon, France; “Contemporary 					
Photographic Portraiture”, curated by Bernard Brunon (October 7 - November 22) (cat.)1986		 The Queens Museum of Art, New York, NY; “The Big Picture”, curated by Marvin Heiferman (cat.)		 Lightsong Gallery, University of Arizona, Tucson, AZ
		 303 Gallery, New York, NY; Photography Bard College, Annandale-on Hudson, NY;			“Altered States”, curated by Vikky Alexander (April 3 - April 30)
		 Institute of Contemporary Art, Boston, MA; “As Found, Part III of Dissent: The Issue of Modern Art
		in Boston” (April 29 - June 22) (cat.)		 CEPA Gallery, Buffalo, NY; “Spiritual America”, curated by Collins and Milazzo			(March 3 - June 15) (cat.)		 Michael Kohn Gallery, Los Angeles, CA; “Post Pop Art” (June 5 - July 12)
		 Venice Biennale, Venice, Italy; “Aperto”, (June 29 - September 28) (cat.)
		 Margo Leavin Gallery, Los Angeles, CA; “Paravision”, curated by Collins and Milazzo			(July 12 - August 23)
		 S.L. Simpson Gallery, Toronto, Canada; “Ultrasurd”, curated by Collins and Milazzo			(September 26 - October 15) (cat.)
Brooke Alexander Gallery, New York, NY, “Benefit for The Kitchen”, curated by Brooke Alexander			
and Paula Cooper (December 13 - December 21)
		 Editions Ilene Kurtz, New York, NY; “Sarah Charlesworth, Jeff Koons, Laurie Simmons”
			(Tartan Sets portfolio)
1985-86 Rhona Hoffman Gallery, Chicago, IL; Texas Gallery, Houston, TX; Aspen Art Museum, Aspen, CO;		
Vanguard Gallery, Philadelphia, PA; “Infotainment”, curated by Peter Nagy (cat.)1985 		 Holly Solomon Gallery, New York, NY; “Selected Artists from The East Village”
		 55 Mercer Street Gallery, New York, NY; “Smart Art Too”, curated by Joe Masheck (January 8 - 				
January 26)
		 The Institute for Contemporary Arts, Santa Fe, NM; “Playing It Again, Strategies of Appropriation”
			(traveling show), curated by Sam Samore
		 Laguna Gloria Art Museum, Austin, TX; “Figure it Out”
		 White Columns, New York, NY; “Seduction Working Photographs”, curated by Marvin Heiferman			(February 6 - March 2)
		 Whitney Museum of American Art, New York, NY; “1985 Biennial Exhibition” (March 21 - June 9)		 (cat.)
		 Cable Gallery, New York, NY
		 Tony Birckhead Gallery, Cincinnati, OH
		 Feature Gallery, Chicago, IL
		 New Museum of Contemporary Art, New York, NY; “The Art of Memory, The Loss of History”, 		
		
curated by Bill Olander (November 22 - December) (cat.)		 Nexus Contemporary Art Center, Atlanta, GA; C. W. Woods Gallery, Hattiesburg, MS; Carolina 				Program Union, Columbia, SC; Austin Peay State University, Clarksville, TN; Valencia 				Community College, Orlando, FL; North Carolina Museum of Art, Raleigh, NC; University of		the South, Sewanee, TN; “Public Art”, organized by Nexus Contemporary Art Center, Atlanta		 (cat.)		 Tibor de Nagy Gallery, New York, NY; “Cult and Decorum”, curated by Collins and Milazzo			(December 7 - January 4, 1986) (cat.)		 International with Monument, New York, NY; “Still Life with Transaction” (March 28 - April 21)
		 Postmasters Gallery, New York, NY; “Photo Object” (December 13 - January 26, 1986)
		 Light Gallery, New York, NY; “In the Tradition of: Photography” (February 11 - March 24)
1984-85 Riverside Studios, London; Kettle’s Yard, Cambridge; Midland Group Gallery, Nottingham, UK; 		
		“Between Here and Nowhere”, curated by Rosetta Brooks (cat.)		 White Columns, New York, NY; “The New Capital”, curated by Collins and Milazzo			(December 4 - January 5, 1985)
1984 		 Spiritual America, New York, NY; “Pop” (February 1 - March)11Group Exhibitions:
Nature Morte Gallery, New York, NY; “Wedge Benefit” (June 27 - June 29)
		 Washington Project for the Arts, Washington, DC; “The Magazine Store”,
			curated by Jock Reynolds
		 Dart Gallery, Chicago, IL; “Large Scale Photography” (September 14 - October 10)
		 Museum of Modern Art / Art Advisory Service, New York, NY; “Ten Years of Contemporary Art”			
(September - January, 1985)
		 Fine Arts Gallery, Florida State University, Tallahassee, FL; “Natural Genres”, curated by			Collins and Milazzo (August 31 - September 30)
School of the Art Institute of Chicago Gallery, Chicago, IL; “Sex Specific: Photographic		
Investigations of Contemporary Sexuality” (November 2 - November 24) (cat.)
		 Galerie Jurka, Amsterdam, Netherlands; International with Monument, New York, NY; “Still Life 				with Transaction”, curated by Collins and Milazzo
		 Blum Helman Warehouse, New York, NY; “Bomb Magazine Show”
		 Cable Gallery, New York, NY; “Sex Show”
1983 		 Marianne Deson Gallery, Chicago, IL; “Artists Use Photographs” (January 7 - February 16)
		 Palais de Beaux Arts, Brussels, Belgium
American Graffiti Gallery, Amsterdam, Netherlands
		 Castelli Graphics, New York, NY; “Three-Dimensional Photographs” (April 12 - May 4)
		 Allen Memorial Art Museum, Oberlin College, Oberlin, OH; “Art and Social Change U.S.A.”, 		
		
curated by Bill Olander (April 19 - May 30) (cat.)		 Olsen Gallery, New York, NY; “Eight Women Artists” (June 16 - July 16)
		 Barbara Gladstone Gallery, New York, NY; “State of the Art, The New Social Commentary”			(June 14 - July 29)
		 Brooklyn Army Terminal, New York, NY; “Terminal New York”
		 Marlborough Gallery, New York, NY; “In Plato’s Cave”, curated by Abigail Solomon-Godeau
			(November 4 - November 29) (cat.)1982		 The Renaissance Society, University of Chicago, Chicago, IL; “Art and the Media: A Fatal 				
Attraction”, curated by Tom Lawson (May 2 – June 12) (cat.)		 Olsen Gallery, New York, NY (June 11 - August)		 Proctor Art Center, Bard College, Annandale-On-Hudson, NY; “Resource Material: Appropriation		In Current Photography”, curated by Steven Frailey (October 30 - December 1)
1981 		 Metro Pictures, New York, NY; “Photo” (September 12 - October 3)
		 P.S.1, Long Island City, NY; New York, “New Wave”, curated by Diego Cortez
			(February 15 - April 5)
		 Tony Shafrazi Gallery, New York, NY (December 19 - January 16)
1980 		 Carmen Lamanna Gallery, Toronto, Canada; “General Idea” (May 31 - June 19)
		 The Times Square Show, New York, NY; organized by Colab (June)
1979		 Galerie Yvon Lambert, Paris, France; Paula Cooper Gallery, New York, NY; “Artemisia”, curated
		by Yvon Lambert (cat.)		 P. S.1, Long Island City, NY; “The Altered Photograph” (April 22 – June 10)1978 		 Gallery 76, Toronto, Canada
		 Bibliotheque National, Paris, France
1977 		 Carmen Lamanna Gallery, Toronto, Canada
		 Art Net, London, UK
1976		 Galerie Durand-Desert, Paris, France; MTL Gallery, Brussels, Belgium; PMJ Self Gallery, London,		UK; “Face / Surface”, collaborative project with Joseph Kosuth
Curatorial Projects:
1995
1995
1983
1980
1977
1976

Artists Space, New York, NY; “Somatogenics”, group show co-curated with Cindy Sherman andLaurie Simmons.
John Simon Guggenheim Fellowship Award, Visual Art
National Endowment for the Arts
National Endowment for the Arts
New York State Creative Artists Public Service
National Endowment for the Arts

Public Collections:

12

Addison Gallery of American Art, Phillips Academy, Andover, MA
Allen Memorial Art Museum, Oberlin College, Oberlin, OH
Art Gallery of Ontario, Toronto, Canada
Art Institute of Chicago, Chicago, IL
Baruch College, New York, NY
Berkeley Art Museum, University of California, Berkeley, CA
Birmingham Museum of Art, Birmingham, AL
Cleveland Museum of Art, Cleveland, OH
Fotomuseum Winterthur, Switzerland
Harvard Business School, Boston, MA
High Museum of Art, Atlanta, GA
International Center of Photography, New York, NY
Israel Museum, Jerusalem, Israel
J. Paul Getty Museum
Los Angeles County Museum of Art, Los Angeles, CA
Metropolitan Museum of Art, New York, NY
Moderna Museet, Stockholm, Sweden
Montclair Museum, Montclair, NJ
Musee d’Art Moderne and d’Art Contemporaine, Nice, France
Museum of Contemporary Art, Los Angeles, CA
Museum of Contemporary Art, San Diego, CA
Museum of Fine Arts, Boston, MA
Museum of Modern Art, New York, NY
Museum of New Mexico, Santa Fe, NM
National Museum of Women in the Arts, Washington DC
New Britain Museum of American Art, New Britain, CT
New York Public Library, New York, NY
Orlando Museum of Art, Orlando, FL
Princeton University Museum, Princeton, NJ
Rose Art Museum, Brandeis University, Waltham, MA
Sheldon Memorial Art Gallery, University of Nebraska, Lincoln, NE
Smith College Art Museum, Northampton, MA
Smithsonian Institute, National Museum of American Art, Washington, DC
Solomon R. Guggenheim Museum, New York, NY
Stedelijk Van Abbemuseum, Eindhoven, Netherlands
Tang Museum, Saratoga Springs, NY
Vancouver Art Gallery, Vancouver, BC, Canada
Victoria and Albert Museum, London, UK
Walker Art Center, Minneapolis, MN
Whitney Museum of American Art, New York, NY
Yale University Art Gallery, New Haven, CT
Bibliography:
Publications: Books & Catalogues about the artist:
2015
2014
1997

Norton, Margot;
Sarah Charlesworth: Doubleworld, exhibition catalogue published by New,
Gioni, Massimiliano
Museum, New York, NY
Witkovsky, Matthew S. Sarah Charlesworth: Stills, exhibition catalogue pubished by Art Institute of		
Chicago, Chicago, IL and Yale University Press, New Haven, CT
Fisher-Sterling, Susan; Sarah Charlesworth, Site, Santa Fe, NM and National Museum of Women
Hickey, Dave;in the Arts, Washington, DC
Phillips, Lisa

13
Published Writings by the Artist:
1992 Grachos, Louis
Contemporary Currents: Sarah Charlesworth, Special Project: Herald			Tribune: Nov., 1977 / Herald Tribune: Jan. 18 - Feb. 28, 1991, exhibition 				
brochure published by The Queens Museum of Art, Queens, NY (no ISBN)
1984 unsigned
Sarah Charlesworth: April 21, 1978, special issue of C. M. P. Bulletin			published as exhibition brochure by California Museum of Photography,			University of California, Riverside, CA, Vol.3 No.5 (ISSN: 0731-2377)
1983 Charlesworth, Sarah
A Lover’s Tale, special issue of Wedge Magazine, Summer/Fall (a visual			
text pamphlet by Sarah Charlesworth)1982 Charlesworth, Sarah
Sarah Charlesworth: In - Photography, exhibition catalogue published by			
CEPA Gallery, Buffalo, NY (ISBN: 0-939784-03-3)
			(includes artist statement: In-Photography)
1979 Charlesworth, Sarah
Sarah Charlesworth: Modern History (Second Reading), exhibition			catalogue published by The New 57 Gallery, Edinburgh, Scotland
			(no ISBN, edition: 500) (includes artist statement: Unwriting: Notes on 				Modern History)
1977 unsigned
Sarah Charlesworth: 14 Days, exhibition catalogue published by MTL 				
Galerie, Brussels, Belgium
Published Writings by the Artist:
2016
2012
2011
1999
1995
1995
1995
1994
1992
1983
1982
1979
1977
1976
1975

Charlesworth, Sarah
Liz Deschenes. Liz Deschenes On My Mind. (article)
Charlesworth, Sarah==. Liz Deschenes On My Mind. (article)
Charlesworth, Sarah
Artforum, Best Books of 2011: Believing is Seeing (Observations on the 				
Mysteries of Photographs) by Errol Morris. December. (review)
Charlesworth, Sarah
Interview Magazine, Oct.; Full page photo.
Charlesworth, Sarah; Laurie Simmons, A.R.T. Press, Pasadena (interview),
Simmons, Laurie		Charlesworth, Sarah
College Art Association Journal, Sarah Charlesworth, Spring, p.78, illus. 		
		(statement)
Charlesworth, Sarah
October, Questions of Feminism: 25 Responses, #71, WinterCharlesworth, Sarah
Tema Celeste, La Differenza Tra I Sessi Nell’Arte, Jan. (editorial)
Charlesworth, Sarah
Tema Celeste, The Role of Gender in Art: Sarah Charlesworth, Autumn 					(editorial)
Charlesworth, Sarah; Bomb Magazine, Glossolalia, Spring (collaborative article and special 		Kruger, Barbara		
section)Charlesworth, Sarah
Artforum, Books: Camera Lucida: Reflections on Photography by Roland			Barthes, April, pgs.72-73 (review)
Charlesworth, Sarah
Art in America, China: Visiting Socialism, March - April
Charlesworth, Sarah; The Anti-Catalog (collaborative project)
et al.
Charlesworth, Sarah
The Fox, For Artists Meeting, vol. I, #3
Charlesworth, Sarah
The Fox, Declaration of Dependence, vol. I, #1
Charlesworth, Sarah
The Fox, Memo for the Fox, vol. I, #2

Group Exhibition Catalogues and Books:
2016
2014

Hickey, Dave
25 Women: Essays on Their Art. Published by The University of Chicago 				
Press
Ebner, Florian;(Mis)Understanding Photography. special project: Herald Tribune: 		Greiff, Sophia		
September 1977, (Museum Folkwang, Essen, Germany)		Migayrou, FrédéricBernard Tschumi - Architecture: concept & notation. special project: Stills,
			(Centre Pompidou, Paris, France)
Le Bal / Éditions
La Persistance des Images. (Centre National des Arts Plastiques, Paris, 		Textuel			France)Group Exhibition Catalogues and Books:

14

2012

Colpitt, Frances
Color Pictures. (The Art Galleries of TCU, Fort Worth, TX)
Brodie, Judith
Shock of the News. (National Gallery of Art, Washington, DC)
2011 Eleey, Peter
September 11. (MoMA PS1, Long Island City, NY)
Hoffman, Felix
The Uncanny Familiar – Images of Terror. (Buchhandlung Walther Konig,
			Koln)
Honold, Astrid
Circa 1986. (Black Cat Publishing, Amsterdam)
Ware, Katherine
Earth Now: American Photographers and the Environment.
				(Museum of New Mexico Press, Sante Fe, NM)
Princenthal, Nancy;
The Deconstructive Impulse: Women Artists Reconfigure the Signs of 		
McDonough, Tom;Power, 1973-1991. (Prestel USA, New York, NY)			
Pollock, Griselda;
Posner, Helaine;
Stiles, Kristine							2010 Modrak, Rebekah;
Reframing Photography: Theory & Practice. (Routledge, London)
Anthes, Bill 		
Blessing, Jennifer;
Haunted: Contemporary Photography/Video/Performance.
Trotman, Nat		(Solomon R. Guggenheim Museum, NY)
Doswald, Christoph
Press Art: Sammlung Annette und Peter Nobel. (Stampfli Publikationen AG,
			Bern)			
Captured in Time: ART in Embassies Exhibition Paris, France. (ART in 					
Embassies, Washington, DC)
Klein, Alex
Words Without Pictures. Discussion Series curated by Charlotte Cotton and			Alex Klein; (LA County Museum, Los Angeles, CA; 2nd ed. Aperture 					Foundation, New York, NY)2009 Aupetitallot, Yves
Images & (re)presentations: Les Annee 1980s. (Centre d’Art 						
Contemporain, Grenoble, France)
Eklund, Douglas
The Pictures Generation, 1974 – 1984. (The Metropolitan Museum of Art,			New York, NY)2008 Congdon, Kristin G.;
Twentieth Century United States Photographers: A Student’s Guide.
Hallmark, Kara Kellly 		(Greenwood Press, Westport, CT)			
Jedermann Collection - Set 5 from the Fotomuseum Winterthur Collection.
				(Fotomuseum Winterthur, Switzerland)2007			A New Reality: Black-and-White Photography in Contemporary Art. Jane 					Voorhees Zimmerli Art Museum, Rutgers. The State University of New
			
Jersey, New Brunswick, NJ
2006 Traub, Charles H.;
The Education of a Photographer. “Objects of Desire: An interview
Heller, Stephen; 		
with Sarah Charlesworth” (Allworth Press and School of Visual Arts, 		Bell, Adam B.		
New York, NY)2005 Foster, Hal;Art Since 1900: Modernism, Antimodernism, Postmodernism.
Krauss, Rosalind;		
(Thames & Hudson, New York, NY)
Bois, Yve-Alain;
Buchloh, Benjamin
2004 Witkovsky, Matthew S.; Speaking with Hands: Photographs from the Buhl Collection, (Solomon R.
Mariño, Melanie;		
Guggenheim Museum, New York, NY)
Trotman, Nat		
Fogle, Douglas
The Last Picture Show: Artists Using Photography 1960-1982.
				(Walker Art Center, Minneapolis, MN)
2003 Scott, Sue
Constructed Realities: Contemporary Photography. (Orlando Museum, 					
Orlando, FL)			Off the Press: Recontextualizing the Newspaper in Contemporary Art.
				
(Southwest Museum of Photography, Daytona, FL)
2002 Wolfe, Sylvia
Visions from America: Photographs from the Whitney Museum of American			Art, 1940-2001. (Whitney Museum of American Art, New York, NY)15Group Exhibition Catalogues and Books:
Warner, Mariana;
Seeing Things: Photographing Objects, 1850-2001. (The Victoria andHaworth-Booth, Mark 		
Albert Museum, London, UK) 		
Decter, Josh
Televisions. (Kunsthalle, Vienna, Austria)
2000 (Various)
Post Modernism. (Tate Gallery, London, UK)1999 Phillips, Lisa
The American Century: Art & Culture 1950-2000. (Whitney Museum of 					
American Art & Norton Publishers, New York, NY)
1998 Bunnell, Peter C.
Photography at Princeton. (Princeton University, Princeton, NJ)
1997 Sobel, Dean
Identity Crisis: Self Portraiture at the End of the Century. (Milwaukee Art 					Museum, Milwaukee, WI)
Blaettler, James;
The One Chosen: Images of Christ in Recent New York Art. (Thomas Walsh
Nieboer, Jan Willem; 		
Gallery, New York, NY)
Steensma, Regnerus				
1996 Tallman, Susan
The Contemporary Print: From Pre-Pop to Postmodern. (book)
Pierce-Rosenberg, J. A Question of Balance: Artists and Writers on Motherhood.
				(Papier Mache, Watsonville, CA)
Heiss, Alana;
Model Home. (The Clocktower Gallery, Institute of Contemporary Art,
Streeter, Sabina 		
New York, NY)		
1995 Denson, G. Roger
Chasing Angels. (Christinerose Gallery, New York, NY)
Grigoteit, Ariane, et al. Tradition and Zeitgeist: Works from the Collection of Deutsche Bank North
			America. (DuMont Verlag, Köln, Germany)
1994 Felshin, Nina
Empty Dress: Clothing as Surrogate in Recent Art. (Independent)
Decter, Joshua
Don’t Look Now. (Thread Waxing Space, New York, NY)
Morgan, Dahlia
American Art Today: Heads Only. (The Art Museum, Florida Int’l. University,			Miami, FL)
1993 Phillips, Lisa
Photoplay: Works from the Chase Manhattan Collection. (The Chase 					Manhattan Corporation, New York, NY)
Schaffner, Ingrid
The Return of the Cadavre Exquis. (The Drawing Center, New York, NY)
anonymous
Sex Quake - Art After the Apocalypse. (1st Art- Genes Portable Museum)Hill-Perrell, Franklin
Image Makers. (Nassau County Museum of Art, Roslyn Harbor, NY)
Jacobson, Marjory
Art for Work: The New Renaissance in Corporate Collecting.
				(Harvard Business School Press, Boston, MA)
Brunon, Bernard P.
Autoportraits Contemporains: Here’s Looking at Me. (Espace Lyonnais d’Art			Contemporain, Lyon, France)
Espy-Burns, Victoria
Vivid: Intense Images by American Photographers. (Raab Galerie, Berlin,			Germany)
1992 Bond, Anthony, et. al. 9th Biennale of Sydney: The Boundary Rider. (Art Gallery of New South 					
Wales, Sydney, Australia)
Colpitt, Frances;
Knowledge: Aspects of Conceptual Art. (University Art Museum, Santa 		
Plous, Phyllis		
Barbara, CA)
Rosenberg, Barry A.;
Quotations: The Second History of Art, (The Aldrich Museum of 			Leigh, Christian;Contemporary Art, Ridgefield, CT)
Straus, Marc J.				
1991 Morin, France, et al.
The Interrupted Life. (New Museum of Contemporary Art, New York, NY)
Rubin, David S.
Cruciformed: Images of the Cross Since 1980. (Cleveland Center for 					Contemporary Art, Cleveland, OH)
Liebmann, Lisa
Southeast Bank Collects: A Corporation Views Contemporary Art. 		
			(Southeast Bank) (cat.)
Belli, Gabriella;American Art of the 80’s. (Electa, Milan, Italy)
Saltz, Jerry		Gumpert, Lynn;
Beyond the Frame: American Art 1960-1990. (Institute of Contemporary Art,
Wallis, Brian		Tokyo, Japan)
Reynolds, Jock;
Motion and Document - Sequence and Time: Eadweard Muybridge and 		
Sheldon, James		Contemporary American Photography. (National Museum of American			Art, Smithsonian Institution, Washington, DC)

16Group Exhibition Catalogues and Books:
1990 Derrickson, Stephen
Insect Politics, Body Horror/ Social Order. (Hallwalls Contemporary Art 					Center, Buffalo, NY)
Gandini, Manuela
Taking the Picture: Photography and Appropriation. (Castelli, New York, NY
			and Gallery, Milan, Italy)
Graw, Isabella;
Das Sibyllinische Auge: Fotokünstlerinnen aus dem Anglo-Amerikanischen
Lanzinger, Pia		Raum. (Foto e.V. München and Barbara Gross Gallery, Munich, 					Germany)
Cooke, Lynne
Reorienting: Looking East. (Third Eye Centre, Glasgow and Nicola Jacobs,
			
London, UK)1989 Foresta, Merry A.;
The Photography of Invention: American Pictures of the 1980’s. (M.I.T. 		
Smith, Joshua P		
Press, Cambridge, MA)
Grundberg, Andy;
Abstraction in Contemporary Photography. (Emerson Gallery, Hamilton 		Saltz, Jerry		
College and Anderson Gallery, Virginia Commonwealth University, 					Richmond, VA)		
Halpern-Brougher,
Selected Works from the Frederick R. Weisman Foundation,
Nora;			(Wight Art Gallery, U.C.L.A.)
Hopkins, Henry T.;
Stein, Donna		Butler, Susan
Shifting Focus: An International Exhibition of Contemporary Women’s 					Photography. (Arnolfi Gallery, Bristol and Serpentine Gallery, London,
			UK)
Rauch, Joseph B.
Fictive Strategies: Actuality and Originality in Contemporary Photography.
				(The Squibb Gallery, Princeton, NJ)
Braulick, Nathan;
What Does She Want: Current Feminist Art from the First Bank Collection.
Haworth, Dale K.;		
(First Bank System Division of Visual Arts)
Sowder, Lynne		
Hoy, Anne
Fabrications, Staged, Altered and Appropriated Photographs.
				(Abbeville Press, New York, NY)
Jones, Ronald;
Avant 1989: Exposition con‡ue par Haim Steinbach. (Fonds Régional d’Art
Steinbach, Haim		
Contemporain, Rhônes-Alpes, France)
Stainback, Charles
Culture Medium. (International Center of Photography, New York, NY)			
Subject:Object. (Nicola Jacobs Gallery, London, UK)
Hanhardt, John G.;
Image World: Art and Media Culture. (Whitney Museum of American Art,
Heiferman, Marvin;		
New York, NY)
Phillips, Lisa				Misiano, Viktor;
Moskau - Wien - New York. (Wiener Fastwochen, Vienna, Austria)
Wasow, Oliver, et al.
Rosenberg, Barry;
Selections from the Collection of Marc and Livia Straus. (Aldrich Museum
Straus, Marcof Contemporary Art, Ridgefield, CT)
Kosuth, Joseph
The Play of the Unsayable-Wittgenstein and the Art of the XXth Century.
				(Wiener Secession, Vienna, Austria)
Goldstein, Ann;A Forest of Signs: Art in the Crisis of Representation. (Museum of
Jacob, Mary Jane		Contemporary Art, Los Angeles, LA and M.I.T. Press, Cambridge, MA)
Ferguson, Bruce;
Contemporary Perspective I: Abstraction in Question. (The John and Mable
Simon, Joan;		
Ringing Museum of Art, Sarasota, FL)
Smith, Roberta			
1988 Collins, Tricia;
Hybrid Neutral: Modes of Abstraction and the Social. (Independent Curators
Milazzo, Richard;			
Inc., New York, NY)
Indiana, Gary				Collins, Tricia;
Art at the End of the Social. (Rooseum, Malmö, Sweden)
Milazzo, Richard			Just Like a Woman. (Greenville County Museum of Art, SC)
Collins, Tricia;
Media Post Media. (Scott Hanson Gallery, New York, NY)
Milazzo, Richard		17Group Exhibition Catalogues and Books:
Carter, Curtis L.
Photography On the Edge. (Haggerty Museum of Art, Marquette University,				
Milwaukee, WI)
Godeau, Abigail Sol.
Sexual Difference: Both Sides of the Camera. (Wallach Art Gallery, 					Columbia University, New York, NY)
Liebmann, Lisa;
Contemporary Art Auction to Benefit El Bohio. (Bohio Community andMonforton, Mary-Ann		
Cultural Center, New York, NY)1987 Jacobs, Joseph
This is not a Photograph: Twenty Years of Large Scale Photography;				
1966-1986. (The John and Mable Ringling Museum of Art, Sarasota,
			FL)
Feinstein, Roni
Contemporary Diptychs: The New Shape of Content. (Whitney Museum of			American Art, New York, NY)
Saltz, Jerry
Recent Tendencies in Black and White. (Sidney Janis Gallery,				
New York, NY)
Brunon, Bernard
Contemporary Photographic Portraiture. (Musée St. Pierre, Lyon, France)
Cameron, Dan.
Art and Its Double: A New York Perspective. (Centre Cultural de la 					
Fundacio Caixa de Pensions, Barcelona, Spain)
Denson, G. Roger
Poetic Injury: The Surrealist Legacy in Postmodern Photography.
				(Alternative Museum, New York, NY.)
Halley, Peter;
Beyond Boundaries: New York’s New Art. (Alfred van der Marck Editions,Saltz, Jerry;		
New York, NY)
Smith, Roberta
1986 Heiferman, Marvin
The Big Picture. (The Queens Museum of Art, New York, NY)
Heller, Reinhold
Dissent: The Issue of Modern Art in Boston. (Institute of Contemporary Art,			
Boston, MA)
Collins, Tricia;
Spiritual America. (CEPA Gallery, Buffalo, NY)
Milazzo, Richard
Collins, Tricia;
Ultrasurd. (S. L. Simpson Gallery, Toronto, ON)
Milazzo, Richard
1985 Jones, Richard
Public Art. (Nexus Contemporary Art Center, Atlanta, GA)
Lawson, Thomas;
Infotainment: 18 Artists from New York. (J. Berg Press, New York, NY)
Nagy, Richard;
Robbins, David;
Trow, George W.S.
			
1985 Biennial Exhibition. (Whitney Museum of American Art, New York, NY)
Olander, Bill
The Art of Memory, The Loss of History. (New Museum of Contemporary 					Art, New York, NY)
Collins, Tricia;
Cult and Decorum. (Tibor de Nagy Gallery, New York, NY)
Milazzo, Richard
1984 Brooks, Rosetta
Between Here and Nowhere: 9 New York Artists. (Riverside Studios, 					
London, UK)
Wallis, BrianArt After Modernism, Rethinking Representation. (New Museum of				Contemporary Art, New York, NY)1983 Solomon-Godeau, A.
In Plato’s Cave. (Marlborough Gallery, New York, NY)
Olander, Bill
Art and Social Change U.S.A. (Allen Memorial Art Museum, Oberlin 					College, Oberlin, OH)
1982 Lawson, Tom
Art and the Media: A Fatal Attraction. (The Renaissance Society, University
			of Chicago, Chicago, IL)
1979 Lambert, Yvon
Artemisia. (Paula Cooper Gallery, New York, NY)18
Selected Bibliography: Periodicals
2017 Indiana, GaryThe New York Times Style Magazine, These ’80s Artists Are More 					
Important Than Ever, February 13, 2017
Tarasoff, Sabrina
Flash Art, Sarah Charlesworth at Campoli Presti, January / February 20172016 Respini, Eva
Aperture. On Defiance: Experimentation as Resistance, Winter 2016,				
pp. 100-107
2016 Davis, Ben
Artnet. Do You Have to Be Rich to Make It as an Artist?, January 14, 20162015 Smith, Roberta
The New York Times. ‘Sarah Charlesworth: Doubleworld’ Studies 					Perceptions Shaped by Photography, June 25, 2015
Solomon, Deborah
The New York Times. Recalling Sarah Charlesworth’s Photographs,
				June 26, 2015
Aletti, Vince
The New Yorker. Optic Nerve, The New Museum Surveys the Enigmatic 					
Pictures of Sarah Charlesworth, July 20, 2015
Denson, G. Roger
Huffington Post. Where Doubt Is Faith and the Sign Is Spirit: Sarah 					Charlesworth’s Art of Personal Religion, September 8, 2015
Halle, Howard
Time Out New York. Best Art Shows of 2015, December 10, 2015
Yerebakan, OsmanArt Observed. New York – Sarah Charlesworth: “Doubleworld” at The New			Museum Through September 20th, 2015, September 3, 2015			
Musée Magazine. Sarah Charlesworth: Doubleworld at New Museum,				July 3, 2015
			
Art in America. Museum Previews - Sarah Charlesworth, July 2015
			
PDN. The Double World of Sarah Charlesworth, September 4, 2015
O’Neill, David
Bookforum. Sarah Charlesworth: Doubleworld, Fall 2015
Budick, Ariella
Financial Times. Sarah Charlesworth/Albert Oehlen, New Museum,				
New York, August 19, 2015
Caranicas, Devon
Sleek. Sarah Charlesworth’s Retrospective Gives You Double Vision,				July 1st, 2015
Cruz, Cynthia
Hyperallergic. With Photography, Sarah Charlesworth Deconstructs the 					World, September 11, 2015
Dorenbaum, Frances F Newsmagazine. The Last Dance: Sarah Charlesworth’s Stills,
				January 30, 2015 (review)
Felsenthal, Julia
Vogue. Decoding Sarah Charlesworth’s Patricia Cawlings, Los Angeles at			New York’s New Museum, July 9, 2015
Gopnik, Blake
artnet Magazine. At the New Museum, Sarah Charlesworth’s Jumpers Leap
			for Us All, August 14, 2015
Jovanovich, Alex
Artforum. Critics’ Picks, July 2015
Krasinski, Jennifer
Village Voice. Doubledowner: New Museum Retrospective Gives Too Brief			a Look at Sarah Charlesworth’s Work, July 14, 2015
Mohammad, Sehba
Flavorpill. 5 Reasons to See Sarah Charlesworth at the New Museum,				June 18, 2015
Murg, Stephanie
Wallpaper. The artist and linguist: Sarah Charlesworth’s ‘Doubleworld’				
on show at the New Museum, July 9, 2015
Krug, Simone
The Brooklyn Rail. Sarah Charlesworth - Doubleworld, September 8, 2015
Woodward, Richard B. The Wall Street Journal. ‘Sarah Charlesworth: Doubleworld’ Review:				
Should We Look Away?, July 8, 2015
Wyma, Chloe
Modern Painters. The Double World of Sarah Charlesworth, June 21, 20152014 Fiske, Courtney
Art in America. Sarah Charlesworth at Maccarone, September 3, 2014 					(review)
Laster, Paul
Timeout New York. Sarah Charlesworth, “Objects of Desire: 1983-1988”,
			May 20, 2014 (review)
Coleman, Sarah
ARTnews. ‘Sarah Charlesworth: Objects of Desire, 1983–1988′ at			Maccarone, July 30, 2014 (review)
MacDonnell, Nancy
W Magazine. Ahead of her Time, April 28, 2014 (editorial)
Hutt, John
Musée Magazine. Sarah Charlesworth “Objects of Desire 1983-1988″ at			Maccarone, May 3, 2014 (review)

19
Selected Bibliography: Periodicals
Guarino, MarkThe Guardian. Considering the Humanity of Falling Bodies in Sarah 					Charlesworth’s Stills, September 18, 2014 (review)
Cristello, Stephanie
Pier Review. Sarah Charlesworth: Stills at the Art Institute of Chicago, 					
Chicago, IL, September 19, 2014 (review)
Vogel, Carol
The New York Times. Hurtling Bodies, Frozen in Time: ‘Stills’ by Sarah 					Charlesworth, September 12, 2014, p. AR4 (review)
Russeth, Andrew
ARTnews. Challenged to Encompass Everything, September 18, 2014 					(editorial)
Heinrich, Will
New York Observer. ‘Sarah Charlesworth: Objects of Desire: 1983-1988’ at			Maccarone, May 7, 2014 (review)
2013 Gallun, Lucy
Inside/Out, A MoMA / MoMA PS1 Blog. Unwriting: Sarah Charlesworth,				November 15, 2013 (blog)
Simmons, Laurie
Artforum. Sarah Charlesworth (1947–2013), November 2013 (editorial)
Russeth, Andrew
New York Observer. Sarah Charlesworth, Incisive Conceptual 						
Photographer, Dies at 66, June 26, 2013 (obituary)
Putrino, Matt
Nothing Major. R.I.P. Sarah Charlesworth, July 1, 2013 (obituary)
Lee, Soo Ji
PDN. Fine-Art Photographer Sarah Charlesworth, 66, June 27, 2013 					(obituary)
Kazakina, Katya
Bloomberg. Sarah Charlesworth Leaves Magic Images, Beloved Garden,			June 29, 2013 (obituary)
Handzo, Ben
Bomb Magazine. Sarah Charlesworth, 1947 - 2013, July 17, 2013 (obituary)Goldstein, Andrew M. Artspace. Remembering Sarah Charlesworth, Groundbreaking “Pictures 		Corbett, Rachel		
Generation” Photographer, June 28, 2013 (obituary)		
Boucher, Brian
Art in America. Sarah Charlesworth 1947-2013, June 26, 2013 (obituary)			
Artlyst. Sarah Charlesworth American Conceptual Artist And Photographer			Dies, June 29, 2013 (obituary)
Woodward, Richard B. The Wall Street Journal. Pictures, Without Their Thousand Words,
				July 3, 2013 (obituary)
Traub, Charles;
The Brooklyn Rail. Remembering Sarah Charlesworth (1947-2013),
Lange, Matthew C.		
July 15, 2013 (obituary)
Smith, Roberta
The New York Times. Sarah Charlesworth, Artist of Deconstructed 					
Photographs, Dies at 66, June 30, 2013 (obituary)
2012			Flash Art. Sarah Charlesworth & Sara VanDerBeek: A Space in Between.
			Summer 2012. pp. 80-83. (interview)			Columbia: A Journal. No. 50, 2012. pp. 83-84. (feature)
Smith, Roberta
The New York Times. Sarah Charlesworth: Available Light, March 29, 2012,			
p. C26. (review)			
The New Yorker. Goings on About Town: Art. April 9, 2012, p. 10. (preview)			Life + Times. “Lights Please: Sarah Charlesworth,” April 16, 2012. 		
			(interview)
Frolov, Oleg
Populist Magazine. Interview with Sarah Charlesworth, February 2012,				
pp. 4-16
2011 Cembalest, Robin
ARTnews. A Terrible Beauty? Summer 2011 (review)
Moyer, Carrie
Art in America. The Deconstructive Impulse, May 2011, p. 163 (review)
Hodara, Susan
The New York Times. Taking on the Role of Gender in Media,
				March 13, 2011 (review)
2009 Hafner, Hans-Jurgen
Artnet Magazine. Sarah Charlesworth bei Galerie Tanit, Munich: The Colour			of Conceptual Criticism, October 13 (review)
Barnes, Steve
ARTnews. Sarah Charlesworth: Review, Summer pp. 128
Tikhonova, Yulia
FLASH ART. Sarah Charlesworth at Susan Inglett, July - September 2009,				Vol. XLII, pp 98 (review)
2008 Smith, Roberta
The New York Times. The Human Face is a Monument, April 25, 2008 		Selected Bibliography: Periodicals

20

			(review)			ARTnews. Concrete Color, March 2008 (review)
2007 Fitzpatrick, Andrea D. Art Journal. The Movement of Vulnerability: Images of Falling and 					
September 11, Winter 2007, vol. 66 no.4 pp.85-102 (reproductions)			North Drive Press. Sarah Charlesworth and Sara Vanderbeek: An Interview,			#4, Fall2006			BOMB Magazine. Summer, Number 96 (cover)2005 O’Brien, GlennGQ. How to Collect Photography, September, pp 302
2004 Deitcher, David
Artforum. Spiritual America: David Deitcher on pre-teen spirit, October,
Spicer, Jakki
artUS. The Last Picture Show, January and February; pp. 36-37 (review)
2003 Hainley, Bruce
Artforum. Designs for Living, December; p. 151 (editorial)
Alberro, Alexander
Artforum. One Year Under the Mast, Alexander Alberro on The Fox, 					
Summer 2003; pp. 162 – 164, p. 206 (editorial)
Hamilton, Jeanne
The Commercial Appeal. ‘Cold Comfort’ clutches a warm and fuzzy void,				January 21; p. C4(Eds.) O’Brien, Glenn Bald Ego. Fall 2003, Vol. 1 and Vol. 2 (ill. cover and reproductions)			and Max Blagg
2002			The New Yorker. Photography: Sarah Charlesworth, December 16; p.20
Johnson, Ken
The New York Times. Art Guide: Sarah Charlesworth, December 13; p.E45
2001 Marschall, Laurence A. The Sciences. Book in Brief: The Story of P, January - February; p.44 					(illustr.)
2000 Cohen, MichaelFlash Art. Review: Sarah Charlesworth at Gorney Bravin + Lee,				May - June; p. 116
Pagel, David
Los Angeles Times. Sarah Charlesworth - Magical Forms, 28 January 					(review)
Schwendener, Martha Time Out New York. Art reviews: Sarah Charlesworth at Gorney Bravin +			Lee, 27 January - 3 February, p. 58
Cotter, Holland
The New York Times. Surging Into Chelsea, 21 January.; pp. E37, E41 					(review)
Saltz, Jerry
The Village Voice. The I-Don’t-Get-It-Aesthetic, 25 January; p.57 (editorial)
Aletti, Vince
The Village Voice. Voice Choice: Photo: Sarah Charlesworth,				
January 25; p.79
1999 Temin, Christine
The Boston Globe. Photo Synthesis: in a 20 year retrospective at the Rose			
Art Museum, Sarah Charlesworth Transforms the Medium and the 					
Message of Photography, May 7 (review)			
The Chronicle of Higher Education. A Poetry of Metaphor and Magic,
				May 7 (review)
1998 Barclay-Morgan, Anne Camera Austria International. Sarah Charlesworth – A Retrospective,				
Vol.64, illus. (review)
Green, Frank
Cleveland Free Press. Master Juggler: The Restless Experiments of				Sarah Charlesworth, December 16 - 22 (feature)
Smith, Roberta
The New York Times. Art Review: Evocative Cells: Uptown, Downtown,				
All Around, November 27 (editorial)
Litt, Steven
The Plain Dealer (Cleveland), Photography as a Form of Contemplation:				Charlesworth’s Artistic Images a Rich and Compelling Presence, Sun.,				
November 22, p.4-I (review: CCA)
Forrest, Jason A.
The Atlanta Journal Constitution. Look Twice, Then Again, at These 					Complex Photos, Fri., November 27, p.Q8, illus. (review: Fay Gold)			
Antiques and the Arts Weekly. First Retrospective of Sarah Charlesworth’s
				Photo-Objects, August 28 (review: National Museum of Women				in the Arts)

21
Selected Bibliography: Periodicals
Lewis, JoAnn
The Washington Post. Sleight-of-Lens; Sarah Charlesworth, Deconstructing			`Truth’ Frame by Frame, August 10 (review: National Museum of 					
Women in the Arts)
Goldberg, Vicki
The New York Times. Messages in the Media: Varied Perceptions of 					
Factuality, July 31, p.B33 (review: National Museum of Women				in the Arts)O’Sullivan, Michael
The Washington Post. Charlesworth’s Truth in Pictures, July 17				(review: National Museum of Women in the Arts)
Shaw-Eagle, Joanna
Sunday Times. Exhibition of Shifting Realities, July 12
Linker, Kate
Art in America. Sarah Charlesworth: Artifacts of Artifice, July, p.74-79,				
106 + (cover) & (feature)
Domandi, MarieAperture. Sarah Charlesworth: Retrospective at SITE Santa Fe, June,
Charlotte			 p.76-7, illus. (review)			
Bolger, Michael
La Jolla Village News, Charlesworth tests sense, sensibilities in 						“Retrospective”, May 28
Morgan, Anne
Art Papers, Peering through History: an interview with Sarah Charlesworth,			May - June, p.17-21, illus. (feature)			
Vision Magazine. Recycling Culture: An Interview with Sarah Charlesworth,			May 28
Baldridge, Charlene,
La Jolla Village News. Artists Offer Resonant Juxtapositions, April 23
Knight, Christopher
The Los Angeles Times. An Artist Taking Pictures (Literally), April 22,
				
p.F-1,4, illus. (review: LaJolla)
Pincus, Robert
San Diego Union Tribune. Pool of Images, Pearles of Truth, April 5				(review: LaJolla)
Swarski, Lindsey
UCSD Guardian. Cutting-edge Photography is Candy for the Mind, April 2				(review: LaJolla)
Buckley, Patricia Morris North County Times. Artist Explores Philosophies in Retrospective Photo			Exhibit, March 20 (review: LaJolla)
unsigned.
Flash Art. Sarah Charlesworth Retrospective, January - February, p.46, 					
illus. (news section)
1997 Clemmer, David
Santa Fe Reporter. Context, Content and the Vessel of the Miraculous,				
November 12-18, p.27 (review: Site)
MacNeil, William A.
Albuquerque Journal. Celebrated Photographer Blurs Line Between Fact,			
Fiction, November 4, pp.1&3 (review: Site)
Walker, Hollis
Pasatempo, The New Mexican. A Landscape of Images,
				
October 31 - November 6, pp.32-33 (review: Site)
1996 Goldstein, LaurenceMichigan Quarterly Review. Introduction, Vol. XXXV, No.4, Fall, p.574, 					(illus.)			
At The Museum. (Los Angeles County Museum of Art), Some Grids, p.9
			
The Sciences. September / October, p. 28, (illus.)
Johnson, Paul
Cover. Sarah Charlesworth, March, p.53, (illus.) (review: J.G.M.A.)			
New Observations. Sarah Charlesworth: Text, January / February, p. 22, 					(illus.)
1995 Hagen, Charles
The New York Times. Sarah Charlesworth, November 17, p. C-30,
				(review: J.G.M.A.)
Yablonsky, Linda
Time Out / New York. Sarah Charlesworth: Doubleworld, November 15-22,
			
p.25, (illus.) (review: J.G.M.A.)
Aletti, Vince
The Village Voice. Choices: Sarah Charlesworth, November 7; 			
			
supplement p. 8, (illus.) (review: J.G.M.A.)			
Canadian Art. Fast Forward, Fall, (illus.) (preview: S. L. Simpson)
1994			The New Theater Review. Fall, #11, p. 8, (illus. + cover)
Hickey, Dave
Parkett. A Matter of Time: On Flatness, Magic, Illusion, and Mortality, 					#40/41, Summer, (feature)
1993 Romano, Gianni
Zoom. (Milan), Sarah Charlesworth, November - December, (illus.) (feature)22
Selected Bibliography: Periodicals
Hess, Elizabeth
The Village Voice. Body Triple, November 30, (illus.)				(review: Drawing Center)
Mifflin, Margot
Artnews. What do Artists Dream?, October, (editorial)
Heartney, Eleanor
Artnews. Sarah Charlesworth, Summer, (illus.) (review: J.G.M.A.)
Hess, Elizabeth
The Village Voice. Materialized Girls: Nancy Rubins, Lisa Hoke,				
Megan Williams, Sarah Charlesworth, April 20 (review: J.G.M.A.)
1992 Campitelli, Maria
Juliet. (Trieste), Sarah Charlesworth, February / March (review: J.G.M.A.)
1991 Thompson, Elspeth
The Guardian. (London), Portrait of a Friendship, December 4, (illus.)				(review: Interim Art)
Gardner, Paul
Artnews. What Artists Like About the Art They Like When They Didn’t Know			
Why, October, (illus.) (questionnaire interview)
Litt, Steven
The Plain Dealer. (Cleveland), Using or Abusing a Powerful Symbol?, 		
			
September 8			Art and Man. September / October, p. 16, (feature)
Stiwer, Pierre,Cafe-Creme. (Luxembourg), Sarah Charlesworth: L’immaculée Conception,
Di Felice, Paul		
#15-Summer, pp. 38-43, (illus. + cover + interview)
Van der Ploeg, Kees
Flash Art. Sarah Charlesworth, Summer, (illus.) (review: J.G.M.A.)
O’Rourke, Meg
Arts Magazine. Sarah Charlesworth, Summer, (illus.) (review: J.G.M.A.)
Lewis, James
Artforum. Sarah Charlesworth, Summer, (review: J.G.M.A.)
Meuris, Jacques
La Libre Belgique. (Brussels), Au Temps de L’image: l’artiste américaine				Sarah Charlesworth entend révéler … froid les passions 						contemporaines…travers une imagerie omni-présente, May 15, (illus.)			(review: Hufkens)
Dennis, Melvin
Puchong Folios. Sarah Charlesworth, Spring (review: J.G.M.A.)
Denson, G. Roger
Bijutsu Techo. (Tokyo), Traces of Femininity: Sarah Charlesworth, Jan 					Groover & Ida Applebroog, reprint / translation of What’s in a Word,				
pp. 28-43, (illus. + cover + feature)
Brenson, Michael
The New York Times. Sarah Charlesworth: Shifted Images of the 					Renaissance, March 22, (illus.) (review: JGMA)
Weily, Susan
Artnews. Sarah Charlesworth’s Abracadabra, March, pp. 116-121, 					(illus + cover + feature)
1990 Durand, Regis
Art Press. (Paris), Fragments d’un Paysage d’images, #153,
				December (feature)Denson, G. Roger
Contemporanea. Sarah Charlesworth: What’s in a Word, October,				
pgs.70 - 75, (illus. + feature)Denson, G. Roger
Tema Celeste. The New Metaphysical Art and It’s Legacy, July - October,			No. 25, pp. 37- 42, (illus. + editorial)			The New Yorker. Goings On About Town: Art, July 23, (review: J.G.M.A.)
Charlesworth, Sarah
Artforum. A Grammar of Essence: A Project for Artforum by				Sarah Charlesworth, February, pp.123-125, (illus. + project)			Interview Magazine. February, (full page reproduction)
1989 Sussler, Betsy
Bomb Magazine. Profile / Art: Sarah Charlesworth, Winter, pp.30-33,
				(illus. + feature)
Scheuer, Daniel
Center Quarterly: A Journal of Photography and Related Arts. 150th at f2
				Snapshots of Contemporary Art Photography, Vol. 11, #1
Faber, Monika
Camera Austria. (Graz), Vis a Vis der Kamera, #30, (review: Grita Insam)
Caley, Shaun
Flash Art. A Forest of Signs: One is Ushered into a Wonderland of Banality,				November / December, (review: M.o.C.A.)
Kimmelman, Michael
The New York Times. At the Whitney, 100 Works From the Last 30 Years,
			November 10, (editorial)
Phillipi, Desa
Artforum, Shifting Focus, November, p.168 (review: Serpentine Gallery)
1989 Wise, Kelly
The Boston Globe. Redefining the Language of Photography, October 17				(review: Segal)

23
Selected Bibliography: Periodicals
Jones, Bill
Arts Magazine. Born Again: Seeing the End of Photography, October,				
pp. 72- 77, (illus. + cover + editorial)
Heartney, Eleanor
Artnews. Sarah Charlesworth, September, (illus.) (review: J.G.M.A.)
Mueller, Cookie
Details Magazine. Art and About, September, (illus.) (review: B.A.M.)
Zampaglione, Arturo
La Repubblica. Il Venerdi (Rome), p. 92, September 8, (interview)
Silko, Leslie M.
Artforum. The Fourth World, Summer, pp.124-127,
				
(illus: Madonna and Child, special project by Sarah Charlesworth, in 					
special section designed by Robert Barry, pp.124-135)
			
Corriere della Serra. (Roma/Milano), Sarah Charlesworth, August 18
Grundberg, Andy
The New York Times. Two Shows: One Works the Other Bogs Down,				
Sunday, August 13, (illus.) (review: I.C.P. & Metropolitan)
Smith, Roberta
The New York Times. Charting Traditions of Non-traditional Photography,			June 11 (review: National Museum)
Princenthal, Nancy
Barron’s, More Positives Than Negatives: Collectors Bids Up Artistic 					
Photographs, May 22, (illus.) (editorial)
Kent, SarahTime Out / London. Sarah Charlesworth, May 10-17, (illus.)				(review: Interim Art)
Levin, Kim
The Village Voice. April 25, (review:J.G.M.A.)
1988 Sischy, Ingrid
The New Yorker. Photography: Sarah Charlesworth, April 24,
				(review: J.G.M.A.)
Smith, Roberta
The New York Times. Galleries Paint a Brighter Picture for Women, April 14
				(editorial w/review: J.G. M.A.)			
Flash Art News. Supplement # 143, November / December
Multiple Authors
The Print Collector’s Newsletter. Photographs and Professionals IV,
				Vol.XIX, No.3, July / August, pp. 81-91 (cover illus.), (panel discussion)
Kramer, Hilton
New York Observer. Sexual Difference, April 18, p.1&11
				(review: Wallach Art Gallery)Saltz, Jerry
Arts Magazine. The Implacable Distance: Sarah Charlesworth’s 			‘Unidentified Woman, Hotel Corona, Madrid (1979-1985)’, March,				
pp. 24-25, (illus + feature)
Glanzman, Judith
Journal of Contemporary Art. Sarah Charlesworth, Spring, p. 56 (interview)
1987

Gilbert-Rolfe, Jeremy Arts Magazine. Where Do Pictures Come From? Sarah Charlesworth and			
the Development of the Sign, December, pp. 58-60, illus. (feature)
Clarkson, David
Parachute. (Montreal), Sarah Charlesworth: An Interview, December,				
pp.12-15 (interview)			Bomb. (Toronto), Issue CCI, Fall, (cover)
Collins, Tricia;
New Observations. October
Milazzo, Richard
Cameron, Dan
Flash Art. Art and Its Double, Summer
Stretch, Bonnie Barrett Art and Auction. Contemporary Photography, May, pp.140-147, (illus.)
Wilson, William
Los Angeles Times. The Art Galleries: Joel Otterson / Sarah Charlesworth,			
May 1, (review: Margo Leavin)
Selwyn, Marc
L.A. Weekly. Sarah Charlesworth, May 8-14, p. 44 (review: Margo Leavin)
Shottenkirk, Dena
C Magazine. (Toronto), Sarah Charlesworth: Imaging the Other, Spring,				
pp.18-23, (cover + feature)
Cohen, Ronny H.
The Print Collectors Newsletter. New Abstraction V, March / April, pp.9-13,
			(illus.)
Turner, Dot
Vanguard. (Toronto), Sarah Charlesworth, February / March, illus.
				(review: S.L. Simpson)1986 Cameron, Dan
Flash Art. Post-Feminism, February / March, pp.80-83, (illus.) (editorial)
Brody, Jacky		The Print Collectors Newsletter. (review: Print Portfolio by
Sarah Charlesworth)Selected Bibliography: Periodicals

				Effects Magazine. Winter 1986 (cover)24

Brenson, Michael
The New York Times. Sunday, July 13, (review: Venice Biennale)
Collins, Tricia;
Kunstforum. (Köln), New York: Tropical Codes, April / May, pp.308-338
Milazzo, Richard 		Indiana, Gary
Village Voice. Liquid Memory, Solid Objects, April 1, (illus.)				(review: Int’l with Monument)
Jones, Alan
Galleries Magazine. (Paris), Paravision: Une Interview avec Tricia
1985 				Aperture. Sarah Charlesworth, No. 100, Fall
Kohn, Michael		Flash Art. Sarah Charlesworth, April / May, (illus.)(review: Int’l with Monument)
Warren, Ron		Arts. Sarah Charlesworth, May, (review: Int’l with Monument)
Linker, Kate		
Artforum. Sarah Charlesworth, Summer, p.105, (illus.)(review: Int’l with Monument)
1984 Linker, Kate		
Artforum. Eluding Definition
Indiana, Gary		Art in America. Sarah Charlesworth, September, (illus.) (review: Clocktower)
Deitcher, David
After-Image. Questioning Authority: Sarah Charlesworth’s Photographs, 					
Summer, pp. 14-17, (illus.) (feature)
Bob, Paul		
The East Village Eye. Cutting Up Culture: Photo Artist Sarah Charlesworth
is Pointing to..., June, pgs. 15 & 17, illus. (feature)
Hathaway, Jane		
New York Beat. Photography: Sarah Charlesworth, May 2, p.15,
illus. (review: Clocktower)
Smith, Roberta		The Village Voice. Chrysler’s Wings of Fashion, April(review: Clocktower / Feldman / Castelli)				Esquire. Openings: Sarah Charlesworth, February, p.100(preview: Clocktower)
				Contact Sheet #41. published by Light Work, Syracuse, NY
1983 Samore, Sam		
Exposure. (pub. by the Society for Photographic Education),
Playing it Again, WinterGrundberg, Andy
The New York Times. Post-Modernists in the Mainstream, November 20
				Afterimage. May
1982 				Art in America Guide to Museums, Galleries, and Artists. Tabula Rasa,
by Sarah Charlesworth, listed as an Outstanding Solo Show of 1982
Scully, Julia		
Modern Photography. Seeing Pictures, June Artists, Fall (review)
Hagen, Charles		
Artforum. Sarah Charlesworth, December, p.80, (illus.) (review: Gagosian)Owens, Craig		
Art in America. Sarah Charlesworth, May, (review: Gagosian)
1981 Castle, Ted		
Flash Art. Verbal Art, November
Sussler, Betty		
Cover Magazine. Interview with Sarah Charlesworth,
Spring / Summer (feature)1980 Frank, Elizabeth
Art in America. Sarah Charlesworth, April, (illus.) (review: Shafrazi)
Teaching
2012-13 Princeton University, Princeton, NJ; Lecturer with Rank of Professor, Visual Arts in the Lewis 				 Center
1992-		 School of Visual Arts, New York, NY; Masters Program in Photography and Related Media,
2013 			Graduate faculty member, Masters Critique Seminar (1992-96)
2000-08 Rhode Island School of Design, Providence, RI; Graduate Tutorial Masters in Photography 				 (Spring/Fall)
1994		 Hartford University, Hartford Art School, Hartford, CT; Adjunct Faculty, Graduate Seminar and 				
Critique, (Fall)
1993		 New York University, Department of Art and Art Education, New York, NY; Graduate Photography
		 Critique
1983-85 New York University, Department of Art and Art Education, New York, NY; Graduate Faculty			Instructor, Advanced Photography: Critical Seminar and Workshop (1983-1984, 1984-1985)

Visiting Artist / Lectures / Seminars / Residencies:

25

2011		 Museum of Modern Art, New York, NY; “Forum on Contemporary Photography” with Peter Eleey			and John Pilson, October 24
		 Neuberger Museum of Art, Purchase, NY; “Panel Discussion: Feminism, Deconstruction, and 				Desire” with Sarah Charlesworth, Helaine Posner and Nancy Princenthal; March 17
		 SUNY Purchase, Purchase, NY; Visiting artist / lecturer, March 17
		 Guggenheim Museum Bilbao, Spain; Sarah Charlesworth Lecture in Conjunction with “Haunted:
			Contemporary Photography / Video / Performance”, January 27
2010		 New Museum, New York, NY; “The Last Newspaper Artists in Conversation” Benjamin Godsill,			Moderator, with Sarah Charlesworth, Nate Lowman, and Aleksandra Mir; October 9
		 Bard College, Annandale-on-Hudson, NY, Visiting artist / lecturer, Masters Program in Fine Arts,			
September 20
		 Solomon R. Guggenheim Museum, New York, NY; Sarah Charlesworth Lecture,			“Conversations with Artists”, May 4
2009		 Art Institute of Boston, Boston, MA, Visting artist / lecturer, Masters Program in Fine Arts,			
June 23 - 242008		 LACMA, Los Angeles, CA, “Remembering and Forgetting Conceptual Art”, April 15,			School of Visual Arts, New York, NY; visiting artist, Masters Program in Fine Arts
2007		 The Kitchen, New York, NY; “Re-Take: A Panel on Art and Appropriation”, organized by Afterall,			
November 27
		 Parsons, The New School for Design, New York, NY; visiting artist, Masters Program in			 Photography2005		 Bard College, Annandale-on-Hudson, NY; visiting artist / lecturer, Masters Program in Fine Arts,
		 June2005		 Bard College, Annandale-on-Hudson, NY; visiting lecturer, Masters Program in Curatorial Studies,			March 152005		 Maine College of Art, Portland, ME, visiting artist and guest lecturer, March 24
2005		 Princeton University, Panel curated by Johanna Burton in conjunction with “For Presentation and		Display: Some Art of the 80s” curated by Johanna Burton and Hal Foster, April 14
2004		 Columbia University School of the Arts; “Sarah Charlesworth: The Philosophical and Political Role		of the Artist”, New York, NY; June 15
		 Rhode Island School of Design, Providence, RI; TC Colley visiting artist and lecturer, April
2003		 Orlando Museum of Art, Orlando, FL; “A Conversation with Sarah Charlesworth”, April 9
		 Maine College of Art, Portland, ME; lecturer, March
2002		 Bard College, Annandale-on-Hudson, NY; lecturer, March
2000		 Rhode Island School of Design, Providence, RI; Public lecture & visiting artist & critic, May
		 Brandeis University, Waltham, MA; Public lecture / interdisciplinary seminar, April
		 New York University, New York, NY; American Photography Institute, guest lecturer.
1998-99 The Cleveland Center for Contemporary Art, Cleveland, OH; “The Photography ofSarah Charlesworth: A Psychoanalytic Perspective” (series of five thematic discussions)1998		 Yale University, New Haven, CT; Masters Program in Photography, October		 Museo Santa Maria della Scala, Siena, Italy; visiting artist in residence, August
1997		 Bard College, Annandale-on-Hudson, NY; lecturer, visiting artists and Masters Program			in the Arts, July		 New York University, New York, NY; American Photography Institute, Lecturer
1995		 New York University, Tisch School of the Arts, New York, NY; artist / lecturer, November
		 Rutgers University, New Brunswick, NJ; artist / lecturer, October
		 Independent Curators Incorporated, New York, NY; artist / lecturer, March
1994 		 Tel Aviv Museum of Art, Tel Aviv, Israel; artist / lecturer, October
		 Camera Obscura School of Art, Tel Aviv, Israel; artist / lecturer - Symposium Art and Technology:			
2009, October

Visiting Artist / Lectures / Seminars / Residencies:

26

1993		 University of Las Vegas, Las Vegas, NV; guest lecturer, March		 Culture Lab, University of Toronto, Toronto, Canada; Guest Lecturer
Museo de Arte Contemporaneo de Monterrey, Monterrey, Mexico; guest lecturer, panelist:
		“Photoplay”
1990		 New York University / International Center of Photography, New York, NY; Graduate Program			
visiting artist / critic, May
		 New York University, New York, NY; Panel / Symposium with Jean Baudrillard, May
		 California State University, Fullerton, CA; guest lecturer, May
		 School of Visual Arts, New York, NY; Panel: “Uses & Abuses of History”, Peter Halley, Moderator,
		 March
		 Art Center College of Design, Pasadena, CA; visiting artist, March
University of California, San Diego, CA; visiting artist / lecturer, March		 La Jolla Museum of Contemporary Art, La Jolla, CA; guest lecturer, March
1989
Carleton College, Northfield, MN; Symposium, “What Does She Want?”
Whitney Museum of American Art, panel discussion, “Image World: Art and Media Culture”,
		November
SUNY Purchase, Purchase, NY; guest lecturer, “The Politics of Representation”, October
National Gallery of American Art, Washington, DC; Panel discussion in conjunction with the		exhibition “Photography of Invention”, April
1988-87 Nova Scotia College Art and Design, Halifax, Nova Scotia, Canada; visiting artist / lecturer, March
Tyler Gallery, Tyler School of Art, Temple University, Elkins Park, PA; guest lecturer
International Center of Photography, New York, NY; guest lecturer, May
California Institute of the Fine Arts, Valencia, CA; guest lecturer, April
Art Center College of Design, Pasadena, CA; guest lecturer, April
Brandeis University, Waltham, MA; Saltzman visiting artist / lecturer, February
1986
New York University, Dept. of Fine Arts, New York, NY; guest lecturer, December
Cooper Union, New York, NY; guest lecturer, November
Rhode Island School of Design, Providence, RI; visiting artist / lecturer, November
Photographic Resource Center, Boston University, Boston, MA; guest lecturer
Whitney Museum of American Art, New York, NY; guest lecturer, April
New Museum of Contemporary Art, Panel organized by Marvin Heiferman at 303 Gallery,		
New York, NY; February
1984
School of the Art Institute of Chicago, Chicago, IL; Panel organized by Carol Squires, “Sexuality in		Art and the Media”, November
Rhode Island School of Design, Providence, RI; visiting artist / critic
Rutgers University, New Brunswick, NJ; guest lecturer, November
Cooper Union, New York, NY; guest lecturer, May
Light Work Gallery, Syracuse University, Syracuse, NY; guest lecturer, January
1983
Rutgers University, New Brunswick, NJ; guest lecturer, November
Rhode Island School of Design, Providence, RI; visiting artist / critic, May
International Center of Photography; New York, NY; guest lecturer, May
Artists Talk on Art, New York, NY; Panel organized by Craig Owens, “Painting and Photography,
Defining the Difference”, April
School of Visual Arts, New York, NY; guest lecturer, April
Society for Photographic Education, Panel organized by Andy Grundberg, “Post-Modernism and			 Photography”, March