STEINBACH BIO 2011 - Sonnabend Gallery
STEINBACH BIO 2011 - Sonnabend Gallery
STEINBACH BIO 2011 - Sonnabend Gallery
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HAIM <strong>STEINBACH</strong><br />
1944 Born in Rehovot, Israel<br />
1962 U.S. citizenship<br />
EDUCATION<br />
S O N N A B E N D<br />
1968 Pratt Institute, Brooklyn, NY, B.F.A.<br />
1966 Universite d’Aix Marseille, France<br />
1973 Yale University, New Haven, CT, M.F.A.<br />
SELECTED SOLO EXHIBITIONS<br />
1969 Panoras <strong>Gallery</strong>, New York<br />
1975 Lamagna <strong>Gallery</strong>, New York<br />
1979 Display #7, Artists Space, New York<br />
1980 Changing Displays, Fashion Moda, Bronx, New York<br />
1982 Concord <strong>Gallery</strong>, New York<br />
1985 Cable <strong>Gallery</strong>, New York<br />
1986 Jay Gorney Modern Art (with Sherrie Levine), New York<br />
1987 Galleria Lia Rumma, Naples<br />
<strong>Sonnabend</strong> <strong>Gallery</strong>, New York<br />
1988 capc Musée d’art contemporain, Bordeaux<br />
Jay Gorney Modern Art, New York<br />
1989 Margo Leavin <strong>Gallery</strong>, Los Angeles<br />
Galerie Yvon Lambert, Paris<br />
1990 <strong>Sonnabend</strong> <strong>Gallery</strong>, New York<br />
1991 Palais des Beaux Arts, Bruxelles (with John Knight)<br />
Jay Gorney Modern Art, New York<br />
Rhona Hoffman <strong>Gallery</strong>, Chicago<br />
1992 no rocks allowed, Witte de With, Centre for Contemporary Art, Rotterdam<br />
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S O N N A B E N D<br />
1993 Osmosis, Guggenheim Museum, New York (with Ettore Spalletti)<br />
<strong>Sonnabend</strong> <strong>Gallery</strong>, New York<br />
1994 Ritter Kunsthalle, Klagenfurt, Austria<br />
Galerie Yvon Lambert, Paris (with Robert Barry)<br />
1995 Castello di Rivoli, Rivoli/Torino<br />
Jay Gorney Modern Art, New York, (including Eadweard Muybridge and Michael Snow)<br />
1996 Art <strong>Gallery</strong> of York University, Toronto<br />
Galleria Lia Rumma, Naples<br />
1997 Museum Moderner Kunst Stiftung Ludwig, Vienna<br />
<strong>Sonnabend</strong> <strong>Gallery</strong>, New York<br />
1998 John Hansard <strong>Gallery</strong>, University of Southampton, Southampton<br />
Galerie Albrecht, Munich<br />
Galerie & Edition Artelier, Graz (with Joseph Kosuth)<br />
Galleria di Franca Mancini, Pesaro<br />
Mala galerija, Ljubljana<br />
1999 Haifa Museum, Haifa (with Joseph Kosuth)<br />
Achim Kubinski <strong>Gallery</strong>, Berlin<br />
Fondazione Antonio Ratti, Como<br />
2000 North, East, South, West, Neuer Berliner Kunstverein, Berlin<br />
North, East, South, West, Haus der Kunst, Munich<br />
Hyperspace, Brussels<br />
2001 Galleria Massimo Minini, Brescia<br />
The Box, Turin<br />
Search Group Project, Search Investment Group Limited, Cheung Kong Center,<br />
Central, Hong Kong (with Joseph Kosuth)<br />
2002 Galerie Hubert Winter, Vienna<br />
Galerie Roger Pailhas, Marseille<br />
2004 <strong>Sonnabend</strong> <strong>Gallery</strong>, New York<br />
GBE (Modern), New York<br />
Gimpel Fils, London<br />
2005 Matrix, Berkeley Art Museum, University of California, Berkeley (brochure)<br />
2006 Akira Ikeda <strong>Gallery</strong>, Taura<br />
Akira Ikeda <strong>Gallery</strong>, Berlin<br />
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S O N N A B E N D<br />
2007 Galleria Lia Rumma, MilanVistamare, Benedetta Spalletti, Pescara<br />
<strong>Sonnabend</strong> <strong>Gallery</strong>, New York<br />
Gallerie Laurent Godin, Paris<br />
Akira Ikeda <strong>Gallery</strong>, New York<br />
2008 Waddington Galleries, London<br />
Overduin and Kite, Los Angeles<br />
2009 Galerie Almine Rech, Paris<br />
Paris Meets Berlin Project, Haim Steinbach and Taryn Simon, Johann Koenig <strong>Gallery</strong>, Berlin<br />
SELECTED GROUP EXHIBITIONS<br />
1984 Objectivity, Hallwalls, Buffalo, NY; curated by Robin Dodd<br />
1985 Infotainment, Livet Reichard Co., Inc., and Nature Morte, New York<br />
Objects in Collision, The Kitchen, New York<br />
l986 Damaged Goods: Desire and The Economy of The Object, New Museum of Contemporary Art,<br />
New York; curated by Brian Wallis<br />
Endgame: Reference and Simulation in Recent Painting and Sculpture, Institute of Contemporary<br />
Art, Boston<br />
New Sculpture: Robert Gober, Jeff Koons, Haim Steinbach, The Renaissance Society at the<br />
University of Chicago, Chicago; curated by Gary Garrels<br />
Rooted Rhetoric, Castell Dell’Ovo, Naples; curated by Gabriele Guercio<br />
l987 Art and Its Double, Fundacion Caja de Pensiones, Barcelona and Madrid; curated by Dan<br />
Cameron<br />
Avant-Garde in the Eighties, Los Angeles County Museum of Art, Los Angeles<br />
Currents l2: Simulations, New American Conceptualism, Milwaukee Art Museum, Milwaukee,<br />
WI<br />
Les Courtiers du Desir, Centre Georges Pompidou, Paris; curated by Walter Hopps and Howard<br />
Halle<br />
Post-Abstract Abstraction, Aldrich Museum of Contemporary Art, Ridgefield, CT<br />
1988 Art at the End of the Social, Rooseum, Sweden; curated by Tricia Collins and Richard Milazzo:<br />
curated by Tricia Collins and Richard Milazzo.<br />
The Binational, American Art of the Late 80s The Institute of Contemporary Art, Boston<br />
Museum of Fine Arts, Boston; Kunstverein fur die Rheinlande und Westfalen, Dusseldorf<br />
Cultural Geometry, Deste Foundation, Athens, Greece; curated by Jeffrey Deitch<br />
New Urban Landscape, The World Financial Center, New York<br />
NewYork in View, Munich Kunstverein, Munich<br />
Schlaf der Vernunft, Museum Fridericianum, Kassel, Germany; curated by Veit Loers<br />
1989 A Forest of Signs, Museum of Contemporary Art, Los Angeles; curated by Mary Jane Jacob and<br />
Ann Goldstein<br />
Horn of Plenty, Stedelijk Museum, Amsterdam; curated by Gosse Oosterhof<br />
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S O N N A B E N D<br />
Periodi di Marmo, XX Rassegna Internazionale d’Arte di Acireale, Italy; curated by Germano<br />
Celant<br />
The Silent Baroque, Gallerie Thaddaus J. Ropac, Salzburg, Austria; curated by Christian Leigh<br />
Wittgenstein,The Play of the Unsayable, Wiener Secession, Vienna, (1989); Palais des Beaux<br />
Arts, Bruxelles, Belgium, (1990); curated by Joseph Kosuth<br />
1990 Art et Publicite, Centre Georges Pompidou, Paris; curated by Jean Hubert-Martin and Anne<br />
Baldassari<br />
Life-size, The Israel Museum, Jerusalem; curated by Suzanne Landau<br />
Objectives: The New Sculpture, The Newport Harbor Art Museum, Newport Beach, CA; curated<br />
by Paul Schimmel<br />
Word as Image, Milwaukee Art Museum, Milwaukee, WI(1990); Oklahoma City Art Museum,<br />
Oklahoma City, OK (1990-199l); Contemporary Arts Museum, Houston, TX<br />
1991 Beyond the Frame: American Art, l960 - l990, Setagaya Art Museum, Tokyo; National Museum<br />
of Art, Osaka; Fukuoka Art Museum: curated by Keiji Nakamura<br />
Metropolis, Martin-Gropius-Bau, Berlin; curated by Christos M. Joachimides and Norman<br />
Rosenthal<br />
Objects for the Ideal Home / The Legacy of Pop Art, Serpentine <strong>Gallery</strong>, London; curated by<br />
Marco Livingstone<br />
Power: its Myths and Mores in American Art, 1961-1991, Indianapolis Museum of Art,<br />
Indianapolis, IN; curated by Holliday T. Day<br />
1992 Documenta IX, Kassel; curated by Jan Hoet, Pier Luigi Tazzi, and Dennys Zacharopoulos<br />
The Ninth Biennale of Sydney, Art <strong>Gallery</strong> of New South Wales; curated by Anthony Bond<br />
Refusing to Surface: Art and the Transfiguration of the Ordinary, John Hansard <strong>Gallery</strong>, The<br />
University of Southampton, Southampton, Great Britain<br />
Theoretically Yours, Pier Carlo Rusci, Assessore alla Pubblica Istruzione, Aosta, Italy; curated<br />
by Tricia Collins and Richard Milazzo<br />
1993 Biennale of Venice, XLV Esposizione Internazionale D’Arte, Viaggo Verso Cittera, curated by<br />
Francesca Pasini<br />
The Foreign / The Guest, Offenes Kulturhaus, Linz, Austria; curated by Kurt Kladler and<br />
Elisabeth Madlener<br />
L’Ivresse du Reel: L-Objet dans l’art du XXè` siècle, Musee d’Art Contemporain, Nimes<br />
Tutte le Strade Portano a Roma? Palazzo delle Esposizioni Roma; curated by A. Bonito Oliva<br />
1994 The Century of the Multiple, Deichtorhallen Hamburg<br />
Elvis + Marilyn: 2 x IMMORTAL, The Institute of Contemporary Art, Boston<br />
Group Exhibition, Contemporary Collection, Musée de Grenoble<br />
Même si c’est la nuit, capc Musee d’art contemporain, Bordeaux: curated by Jean-Louis<br />
Froment, Michel Bourel, Glória Picazo and Marc Sanchez.<br />
Urban Paradise: Gardens in the City, PaineWebber Art <strong>Gallery</strong>, New York; curated by Tom<br />
Eccles<br />
1995 Still Leben, Nationalmuseum, Stockholm; curated by Görel Cavalli-Björkman, Jan von Gerber,<br />
and Bo Nillson<br />
Caravanserraglio Arte Contemporanea, Fuori Uso ‘95, Pescara; curatd by Giacinto Di<br />
Pietroantonio<br />
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S O N N A B E N D<br />
Temporarily Possesed: The Semi-Permanent Collection, The New Museum of Contemporary<br />
Art, New York; organized by Brian Goldfarb, John Hatfield, Laura Trippi, and Mimi Young<br />
1996 Collezionismo a Torino, Castello di Rivoli Museo d’Arte Contemporanea, Torino<br />
Everything That’s Interesting is New: The Dakis Joannou Collection, Athens School of Fine<br />
Arts, Athens; Museum of Modern Art, Copenhagen<br />
NowHere,(Walking and Thinking and Walking, curated by Bruce Ferguson); Louisiana Museum<br />
of Art, Humlebaek, Denmark<br />
Passions Privées; Collections particulières d’art moderne et d’art contemporain, Musée d’Art<br />
Moderne de la Ville de Paris, Paris: curated by Danielle Molinari, Lise Brisson, Juliette Laffin<br />
and Marie-Anne Chambost<br />
Sammlung <strong>Sonnabend</strong>, Deichtorhallen Hamburg<br />
1997 Biennale of Venice, XLVII Esposizione Internazionale D’Arte; curated by Germano Celant<br />
Citta Natura, Pallazzo delle Esposizioni, Botanical Gardens, Rome; curated by Carolyn Cristov-<br />
Bakargiev<br />
Dramatically Different, Magasin, Centre National D’Art Contemporain, Grenoble; curated by<br />
Eric Troncy with Yves Aupetitallot and Alessandra Galasso<br />
The Magic of Numbers, Staatsgalerie Stuttgart, Stuttgart<br />
1998 Anos 80: The Eighties, Cultureguest, Lisbon; curated by Maria de Corral<br />
Fast Forward, Kunstverein, Hamburg; curated by Stephan Schmidt-Wulffen<br />
Fetishes & Fetishisms, Passage de Retz, Paris, organized by Jean-Michel Ribettes (cat.)<br />
Passage — International Art Encounters, Project #3: Gideon Gechtman, Bertrand Lavier, Haim<br />
Steinbach, Chelouche <strong>Gallery</strong>, Tel Aviv<br />
Pop/Abstraction, Museum of American Art, Pennsylvania Academy of the Fine Arts,<br />
Philadelphia<br />
René Magritte and contemporary art, Museum voor Moderne Kunst, Oostende; curated by Willy<br />
van den Bussche<br />
1999 Building Histories, Apex Art, New York; curated by Maureen Connor<br />
Decades in Dialogue: Perspectives on the MCA Collection, Museum of Contemporary Art,<br />
Chicago<br />
Free Coke; line, drawing & paper, Greene Naftali, New York<br />
Heaven; An Exhibition that Will Break Your Heart, Kunsthalle Dusseldorf, (1999); Tate <strong>Gallery</strong>,<br />
Liverpool, (1999 - 2000); curated by Doreet LeVitte Harten (cat.)<br />
S.M.A.K, The Opening, Stedelijk Museum voor Actuele Kunst, Gent; curated by Jan Hoet (cat.)<br />
Urban Mythologies: The Bronx Represented Since the 1960s, The Bronx Museum of the Arts,<br />
New York; curated by Lydia Yee and Betti-Sue Hertz (cat.)<br />
Originale echt falsch - Nachahmung, Kopie, Zitat, Aneignung Fälschung in der<br />
Gegenwartskunst, Neues Museum Weserburg, Bremen; curated by Thomas Deecke (cat.)<br />
Shelf Life, Center for Curatorial Studies, Bard College, Annandale-on-Hudson, NY; curated by<br />
Denise Markonish<br />
2000 Around 1984: A Look at Art in the Eighties, P.S.1, Long Island City, NY; curated by Carolyn<br />
Christov-Bakargiev<br />
DINGE: in der Kunst des XX. Jahrhunderts, Haus der Kunst, Munich; curated by Stephanie<br />
Rosenthal and Hubertus Gassner (cat.)<br />
KunstSammeln, Museum fur Neue Kunst/ZKM, Karlsruhe (cat.)<br />
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S O N N A B E N D<br />
L’assenza invadente del divino, Castel Sant’Angelo, Rome; curated by Luisa Valeriani and<br />
Franco Speroni<br />
Over the Edges: The Corners of Gent, Stedelijk Museum voor Actuele Kunst, Gent (cat.):<br />
curated by Jan Hoet and Giacinto D. Pietrantonio<br />
Partage d’Exotismes, 5th Biennale d’Art Contemporain de Lyon, curated by Jean-Hubert Martin<br />
(cat.)<br />
Retrospective, <strong>Sonnabend</strong> <strong>Gallery</strong>, New York<br />
Castelli in aria: Art in Naples at the End of the Millennium, Castel Sant’Elmo, Naples; curated<br />
by Angela Tecce<br />
2001 De Spiegel: Van Het Verlangen, Stedelijke Museum, Kortijk, Belgium<br />
La Bretagne Collectionne L’ Arte de Notre Temps: Les Vingt Ans du Frac Bretagne, Comme a<br />
la Maison,, curated by Jean- Paul Criqui, Ecole superieure d’ arts, Lorient (2001)<br />
Monet’s Legacy Series: Order and Obsession, Hamburger Kunsthalle, Hamburg Germany<br />
Playgrounds and Toys for Children, curated by Adelina von Furstenberg; Geneva; Palazzo della<br />
Esposizione, Rome; United Nations Building, New York<br />
Postmodern Americans; a selection, The Menil Collection, Houston; curated by Walter Hopps<br />
The Overexcited Body; Arte e Sport nella Societe’ Contemporanea, Office des Nations Unies,<br />
Geneve; Velodromo Vigarelli, Milano and Pallazo dell’ Arengario, Milano (2001); SESC<br />
Pompeia, Sao Paulo (2001); Hopitaux Universitaires de Geneve (2002); Queens Museum (2001)<br />
(cat.)<br />
Tele[visions], curated by Joshua Decter, Kunsthalle Vienna, (cat.)<br />
Group Show, <strong>Sonnabend</strong> <strong>Gallery</strong>, New York<br />
2002 American Atelier, Galleria d’Arte Moderna di Bologna; curated by Renato Barilli<br />
Big Brown Bag, Gavin Brown Enterprise GBE (Modern), New York Conceptes de L’Espai,<br />
selected works of the Museum Moderner Kunst Stiftung Ludwig Wien, Fundació Miro,<br />
Barcelona<br />
From Pop to Now; Selections from the <strong>Sonnabend</strong> Collection, The Tang Teaching Museum and<br />
Art <strong>Gallery</strong>, New York; Wexner Center for the Arts at Ohio State University, Columbus;<br />
Milwaukee Art Museum, Milwaukee (2003); curated by Charles Stainback, (cat.)<br />
Group Show, <strong>Sonnabend</strong> <strong>Gallery</strong>, New York<br />
Jeux Dans Le Miroir, works from the Frac-collection Aquitaine, Antenne IUFM, Mont-de-<br />
Marsan, France<br />
L’art d’ aujourd’hui: un choix dans la collection du Fonds national d’art contemporain, Musée<br />
de Grenoble, France<br />
Life, Death, Love, Hate, Pleasure, Pain: Selected Works from the MCA Collection, Museum of<br />
Contemporary Art, Chicago; curated by James W. Alsdorf and Elizabeth Smith<br />
The Lenore & Burton Gold Collection of 20 th Century Art, Herbert F. Johnson Museum, Cornell<br />
University<br />
Markers, Orensanz Foundation, Center for the Arts, New York<br />
Maximum Sensations, Mitchell Museum, Mt. Vernon<br />
Shopping, Schirn Kunsthalle, Frankfurt; Tate Liverpool, Liverpool; curated by Max Hollein and<br />
Christophe Grunenberg<br />
Surface to Surface, Mary Boone <strong>Gallery</strong>, New York; curated by Max Henry<br />
toys II, Kagan Martos <strong>Gallery</strong>, New York<br />
2003 After Shock; the Legacy of the Readymade in Post-War and American Art, Dickinson <strong>Gallery</strong>,<br />
New York; curated by Frances Naumann<br />
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S O N N A B E N D<br />
Artists’ Gifts, Museum of Contemporary Art, Los Angeles; curated by Anne Goldsetin<br />
Breaking God’s Heart, 38 Langham Street, London; curated by Glenn Brown<br />
Concrete Art, Graz 2003 – Cultural Capital of Europe, Graz; curated by Edelbert Köb<br />
Definitively Provisional, Whitechapel Project Space, London; curated by Cecilia Canziani and<br />
Kristine Haugaard Nielsen<br />
False Innocence, Fundació Juan Miro, Barcelona; curated by David G. Torres<br />
Grazie, Schloss Dyck, Jüchen, Germany; curated by Jan Hoet<br />
Group Show, <strong>Sonnabend</strong> <strong>Gallery</strong>, New York<br />
Group Show, Home of Rob Pruitt and Jonathan Horowitz, Fleischmanns, New York; curated by<br />
R. Pruitt and J. Horowitz<br />
L’Air du Temps, Bloomberg SPACE, London; curated by David Risley et. al.<br />
Living with Duchamp, The Tang Museum, Skidmore College, Saratoga Springs; curated by Ian<br />
Barry<br />
Never Mind Your Step, Kunsthalle Palazzo, Liestal, Basel; curated by John Armleder and Team<br />
404<br />
Pop Thru Out, Arario <strong>Gallery</strong>, Chungchungnam-do, Korea; curated by Mary Dinaburg<br />
Private/Corporate I: DaimlerChryslerCollection, Ileana <strong>Sonnabend</strong> Collection,<br />
DaimlerChrysler, Berlin (cat.)<br />
Twentieth Anniversary Exhibition: Welcome Home, Gavin Brown Enterprise/GBE (Modern),<br />
New York; curated by Gavin Brown<br />
2004 Brillant(e), Kunst Meran/Merano Arte, Merano; curated by Anne Schloen, Hannes Gamper and<br />
Matthias Schönweger<br />
Domestic Archeology: Boston and Beyond, The Rose Art Museum of Brandeis University,<br />
Waltham, Massachusetts; curated by Raphaela Platow<br />
East Village USA, New Museum of Contemporary Art, New York; curated by Dan Cameron<br />
Future Noir, Gorney Bravin and Lee, New York<br />
Intra – Muros, Museé d’Art Moderne et d’Art Contemporain, Nice, France; curated by Gilbert<br />
Perlein<br />
Monument to Now: The Dakis Joannou Collection, DESTE Foundation for Contemporary Art,<br />
Athens; curated by Dan Cameron, Jeffrey Deitch, Massimiliano Gioni, Alison M. Gingeras and<br />
Nancy Spector<br />
None of the Above, Swiss Institute of Contemporary Art, New York; curated by John Armleder<br />
Pioneering Spirits: modern and contemporary art from area collections, Scottsdale Museum of<br />
Art, Arizona<br />
Rubell Family Collection, Miami (cat.)<br />
Specific Objects, Museum of Contemporary Art San Diego, San Diego; curated by Stephanie<br />
Hanor<br />
Suburban House Kit, Deitch Projects, New York; curated by Jeffrey Deitch<br />
Symbolic Space, Hudson Valley Center for Contemporary Art. Peekskill, New York; curated by<br />
Marc and Livia Straus<br />
Visions of America, Contemporary Art from the Essl Collection and the <strong>Sonnabend</strong> Collection,<br />
Vienna; curated by Barbara Steffen<br />
20 th Anniversary Show, Castello di Rivoli, Rivoli/Turin (Haim Steinbach solo showcase)<br />
2005 Chronos, Centre CeSAC-Associazione Marcovalso, Caraglio, Cuneo<br />
Coleccion de Arte Contemporaneo Fundacion “la Caixa,” Museo De Bella Artes, Spain<br />
Flashback: Eine Revision der Kunst, Museum fur Gegenwartskunst Basel; curated by Philipp<br />
Kaiser<br />
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S O N N A B E N D<br />
Good Titles for Bad Books, Kevin Bruk <strong>Gallery</strong>, Miami; curated by Matthew Brannon<br />
Looking at Words: The Formal Presence of Text in Modern and Contemporary Works on Paper,<br />
Andrea Rosen <strong>Gallery</strong>, New York; curated by Barbaralee Diamonstein-Spielvogel<br />
Minimalism and After IV (New Acquistions), Sammlung DaimlerChysler Contemporary, Berlin<br />
Reverse Engineers, Carnegie Art Center, North Tonawanda, New York; curated by Julia<br />
Dzwonkowski<br />
The <strong>Sonnabend</strong> Collection, Museo d’Arte Contemporanea Donnaregina, Naples; curated by<br />
Mario Codognato and Eduardo Cicelyn<br />
Threshold, Max Wigram <strong>Gallery</strong>, London<br />
2006 busy going crazy, Collection Sylvio Perlstein, La Maison Rouge, Paris<br />
Contemporary Sculpture, Zwirner & Wirth, New York (cat.)<br />
Czeslaw Milosz/To Allen Ginsberg, Dvir <strong>Gallery</strong>, Tel Aviv<br />
Faster! Bigger! Better!, ZKM/Museum fur Neue Kunst, Germany<br />
Freud and Contemporary Art: The Collection of the Sigmund Freud Museum Vienna, Austrian<br />
Cultural Forum, New York; curated by Peter Pakesch and Inge Scholz-Strasser (cat.)<br />
The Gold Standard, PS1, New York; curated by Walead Beshty and Robert Nickas<br />
In the Darkest Hour, There May Be Light, Serpentine <strong>Gallery</strong>, London; curated by Damien Hirst<br />
(cat.)<br />
Matter Grey, Galerie Almine Rech; Paris, curated by Joseph Kosuth<br />
memento mori, Mireille Mosler, Ltd., New York<br />
Our Marvelous Ambition, Vilma Gold, London<br />
Unique, Mitchell, Innes & Nash, New York<br />
60 th Annivesary Show, Gimpel Fils, London; curated by Des Hughes<br />
2007 Basel Art Fair, Almine Rech <strong>Gallery</strong>; curated by Anselm Reyle<br />
The Contemporary Art Collection of the Sigmund Freud Museum, Vienna in Moscow, Stella Art<br />
Foundation, Moscow; curated by Inge Scholz-Strasser, Peter Pakesch, Boris Manner<br />
The Happiness of Objects, Sculpture Center, Queens; curated by Sarina Basta<br />
Living in the Material World – “Things” in Art of the 20 th Century and Beyond, The National<br />
Art Center, Tokyo<br />
Making and Finding, The Foundation To-Life, Inc. Exhibition Space, Mount Kisco, New York;<br />
curated by Katy Siegel<br />
The Office, Tanya Bonakdar <strong>Gallery</strong>, New York<br />
not like you remembered (Louise Lawler, Thomas Locher, Haim Steinbach), Galerie Six<br />
Friedrich Lisa Ungar, Munich<br />
plug, Sister <strong>Gallery</strong>, Los Angeles; curated by Art Design Office<br />
Versameling Roger en Hilda Matthys-Colle, Museum Dhondt-Dhaenens, Deurle<br />
2008 Art Focus, Jerusalem, curated by Ami Barak<br />
The Art of the Real, Van Moerkerke Collection, Oostende, Belgium; curated by Robert Nickas<br />
Espèces D’espace – The Eighties First Part, Magasin, Grenoble, curated by Yves Aupetitallot<br />
(cat.)<br />
Every Revolution is a Roll of the Dice, Ballroom, Marfa, Texas; organized by Bob Nickas<br />
The Hands of Art, S.M.A.K. Stedelijk Museum voor Actuele Kunst, Gent, Belgium (cat.)<br />
John Armleder, Oliver Mosset, Haim Steinbach, Nicole Klagsbrun, New York<br />
The Object is the Mirror (Part II), Wilkinson, London; curated by Max Henry<br />
Nina in Position, Artists Space; curated by Jeffrey Uslip<br />
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S O N N A B E N D<br />
Peep, Glimpses of the Last 4 Decades from the Kerry Stokes Collection, TarraWarra Museum of<br />
Art, Healesville, Victoria & Art Galery of Western Australia, Perth (cat.)<br />
Pretty Ugly, Gavin Brown Enterprises and Maccarone, curated by Alison Gingeras<br />
Ready Made, Yvon Lambert, Paris<br />
(RED) Auction, Gagosian <strong>Gallery</strong>, curated by Damien Hirst<br />
Re-Designed, Lia Rumma, Milano<br />
The Return of Religion and Other Myths: The Art of Iconoclasm, basis voor actuele kunst,<br />
Utrecht, Netherlands, curated by Sven Lütticken (cat.)<br />
The Station, Miami, Florida, curated by Shamim Momin and Nate Lowman<br />
Something is Happening, Site Speficic Projects, The University of California San Diego<br />
2009 Collectors XXIV, Museum of Contemporary Art San Diego, La Jolla, curated by Stephanie<br />
Hanor<br />
Contructivism, Galerie Almine Rech, Bruxelles, curated by Olivier Renauldclement<br />
Deeply, Madly, Howard House Contemporary Art, Seattle, curated by Robert Yoder<br />
Lichtzwang, Dvir <strong>Gallery</strong>, Tel Aviv<br />
Plastic Culture, Harris Museum and Art <strong>Gallery</strong>, Market Square, Preston, curated by Richard<br />
Smith<br />
N'importe quoi, Museum of Contemproary Art, Lyon, curated by Olivier Vadrot and Vincent<br />
Pécoil<br />
2010 Bambaataa, aliceday, Brussels; curated by Der Kommissare François Curlet<br />
Double Up Double Up, Quint Contemporary Art, San Diego<br />
Selections from the MCA Collection, Museum of Contempoary Art Chicago; co-organized by<br />
Julie Rodrigues Widhom, Pamela Alper, and Diana Nawi<br />
SPACE, MAXXI – Museo nazionale delle arti del XXI secoio, Rome; curated by Bartolomeo<br />
Pietromarchi and Gabi Scardi (cat.)<br />
<strong>2011</strong> Postmodernism: Style and Subversion, Victoria and Albert Museum, London<br />
Chefs d'oeuvre, Rodin et les ambassadeurs, Musée Rodin, Paris, France<br />
SELECTED ARTICLES AND REVIEWS<br />
1982 Klein, Michael;“Haim Steinbach,” Arts, September, p. 7<br />
1985 Miller, John; “Producer as Consumer,” East Village Eye, November.<br />
1987 Celant, Germano; “Haim Steinbach’s Wild, Wild, West,” Artforum, December<br />
Heartney, Eleanor; “Simulationism,” ARTnews, January.<br />
Nickas, Robert; “Shopping with Haim Steinbach,” Flash Art, April.<br />
1988 Christov-Bakargiev, Carolyn; “Spotlight: Haim Steinbach -Staging the Illusion of Fake,” Flash<br />
Art, March/April, p.104.<br />
Cotter, Holland; “Haim Steinbach: Shelf Life,” Art in America, May<br />
Miller, John; “The Consumption of Everyday Life,” Artscribe, January/February<br />
Oliva, Achille Bonito; “Neo-America,” Flash Art, January/February<br />
1989 Gilbert-Rolfe, Jeremy; “The Price of Goodness,” Artscribe, November/December<br />
Soutif, Daniel; “Steinbach: la cle Duchamp,” Liberation (Paris), February 8.<br />
1990 Collins, Tricia, and Milazzo, Richard; “McDonald’s in Moscow and the Shadow of Batman’s<br />
Cape,” Tema Celeste, April-June, No. 25, pp. 35-37.<br />
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S O N N A B E N D<br />
Curtis, Cathy; “There’s Art in Arrangement of Everyday Objects,” L.A. Times Calendar, April l5<br />
Levin, Kim; “Haim Steinbach: signes de progres/objets contradictoires,” Artstudio, Winter.<br />
1991 Camard, Florette; “Jean Pierre Raynaud and Haim Steinbach,” Galleries Magazine, No.42,<br />
April-May, pp.94-103.<br />
Dreher, Thomas; “Haim Steinbach, The Exotic of the Familiar,” Artefactum, no. 37 Feb-Mar.,<br />
pp. 24-29.<br />
1993 Cosemans, Catherine, “Conversation with Haim Steinbach”, Kunst & Museum Journaal, Vol. 4,<br />
Number 4, pp. 35-41.<br />
Decter, Joshua,; “Haim Steinbach: <strong>Sonnabend</strong>”, Artforum, October , p. 88.<br />
1994 ___________, “Hundreds of My Favorite Things,” Drilt Collector’s Newsletter, November, p.<br />
182<br />
Schöllhammer, Georg,“Über die Leere zwischen den Dingen”, Der Standard, March 22, pg.11<br />
1995 Vettese, Angela “A Oguno il Suo Museo; Incontro con Haim Steinbach, Artista Che Non Crea<br />
Ma Seleziona” Il Sole - 24 Ore, October 8, illus., p. 31<br />
1996 Bortolotti, Maurizio, “Haim Steinbach: review of Charta/Rivoli catalogue” Domus, February ’96,<br />
p. 116.<br />
Budney, Jen, “Haim Steinbach: Naked in the Nineties,” Flash Art International, November-<br />
December, pp. 88-92, illus.<br />
Gauthier, Michel, “Le rapport expositionel (a propos des objets sur étagères de Haim<br />
Steinbach),” Art Presence, No. 18, April-May-June, illus., pp.12 - 31<br />
Zevi, Adachiara, “Haim Steinbach’s Incongruous Relationships” L’Architettura, XLII, illus., pp<br />
312-314<br />
1997 Hainley, Bruce “All the Rage: The Art/Fashion Thing,” Artforum, March, pp.77-78<br />
1998 Marucci, Luciano, “Haim Steinbach,” Juliet no. 90, Dec. ‘98 - Jan. ‘99, pp. 42 - 43, illus.<br />
[interview with Haim Steinbach]<br />
Zeleznik, Adela, “Successful Art Marks Time, An Interview With Haim Steinbach,” M’ARS,<br />
x/3,4 1998, pp.1-16, illus.<br />
1999 Beccaria, Marcella, “Haim Steinbach,” Castello Di Rivoli : La Collezione [Online] Available:<br />
http://www.castellodirivoli.torino.it/autori/steinb.html [July 29], art repros.<br />
Boos, Michelle, “Haim Steinbach, The Ritual of Everyday”, Inside Art, September 1999, pp. 1,<br />
3-5, art repro.<br />
Cotter, Holland, “Building Histories”, The New York Times, Nov. 5, p. E41<br />
Dennison, Lisa, “Industrial Revolution”, Artnews, May, art repro., p. 134<br />
Dutan, Esther, “Alternative View at the Haifa Museum,” Studio Art, no. 101, March, pp. 41-44,<br />
art repro. p. 43, 44<br />
Gilerman, Dina “Ten in One,” H’Arretz, January 14<br />
Johnson, Ken, “Scripta Manent”, New York Times, June 4<br />
Levine, Angela “Who’s Afraid of Conceptual Art?”, The Jerusalem Post, February 5, pp. 30-31,<br />
art repro. p. 30<br />
Skolnik, Hila, “Opening,” Kol Bo, January 15, pp. 84-85, art repro. p. 85<br />
Steinbach, Haim, book statement, Bookforum, summer 1999, p.27<br />
Steinbach, Haim “dirty dozen* / more or less,” magazine project, Intercommunication, no. 30,<br />
Autumn, pp.152-153<br />
2000 Alpayim, 2000, p.191<br />
Berg, Ronald , “Wenn die Dinge heimlich sprechen: Im Neuen Berliner Kunstverein spielt Haim<br />
Steinbach den Vermittler,” Frankfurter Allgemeine Zeitung, Nr. 120, May 24<br />
Erfle, Anne, “Jeder Kitsch hat seine eigne Geschichte,” Suddeutsche Zeitung ( SZ Extra<br />
Ausstellungen), Nr. 206, September 7-13, art repro. p. 4<br />
Heartney, Eleanor, “An Adieu to Cultural Purity,” Art in America, October, art repro. p.154<br />
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S O N N A B E N D<br />
Jensen, Jennifer, “College exhibit explore 50 years of faculty artwork,” Addison County<br />
Independent, January 24, p. 3<br />
Griffin, Tim; Palombo, Dominique (photos), “Working the Room”, Smock, Fall/ Winter 2000,<br />
pp.62-69<br />
Muller, Dorothee, “Ding sucht Gesellschaft,” Suddeutsche Zeitung (Feuilleton), Nr. 207,<br />
September 8, art repro. p.19, Munich, Germany<br />
Muller, Katrin Bettina, “Bei Dingfamilien zu Besuch,” Die Tageszeitung, June 5<br />
Pratesi, Ludovico, “Divino Castello: L’arte sugli spalti che guarda a bio,” La Repubblica, Anno<br />
7- Numero 28, July 17, p.IV<br />
Reissner,Katje, “Die Codes der Kannen: Ein Werk von Haim Steinbach im Neuen Berliner<br />
Kunstverein,” Der Taggesspiegel, Nr. 17067<br />
Schneck-Sorge, Jutta, “Haim Steinbach: North East South West,” Kunstforum, Bd. 151, July-<br />
September, art repro. pp. 312-313<br />
Steinbach, Haim, “L’arte frammentata”, Tema Celeste, January-February 2000, pp. 84-85<br />
Zitty, Claudia Wahjudi, “Steine, Porzellankatzen, Rindfleisch-Konserven: Haim Steinbach im<br />
Neuen Berliner Kunstverein,” Kunstnippes, 12/2000<br />
2001 Curto, Guido, “Steinbach, un Morandi Postmoderno”, Da Tuttolibri, December 15<br />
Di Pietrantonio, Giacinto, “Because I Admit that I Would Like to Be Somewhere Else If and<br />
When It/He Will Come; A Meeting with Bart De Baere, Eran Schaerf, Moshe Ninio, Irit Rogoff,<br />
Haim Steinbach”, Perche/?, May 2001, pp. 8-29<br />
Di Bartolomeo, Massimiliano, “When Art Subverts Design”, Domus,<br />
Mammi Alessandra, “Ressa in Galleria” Artbox, L’Espresso, December 19<br />
Matthews, Lisa; Schaller, Matthias Petrus, “Disordine e Immaginazione”, D la Republica della<br />
Donne, March 2001, pp. 286-291<br />
Meneguzzo, Marco, “Haim Steinbach, Galleria Massimo Minini, Brescia”, tema celeste,<br />
September-October 2001, p. 79<br />
Perlo, Luisa, “Haim Steinbach”, Recensioni, Da Titolo, Winter 2001/2002<br />
2002 Gambari, Olga “Steinbach, gli oggetti tra metafisica e pop”, La Republica, February 4<br />
Drier, Melissa, “The Art and Splendor of Shopping,” WWD, October 2002 p. 11<br />
“Haim Steinbach”, Urban, No. 5, January 2002<br />
“Haim Steinbach, Galerie Hubert Winter”, www.artsmagazine.cc, March 15<br />
Hofleitner, Johanna, “Haim Steinbach, Galerie Hubert Winter”, Die Presse, March 13<br />
Metzger, Rainer, “Gallerie Hubert Winter: Haim Steinbach”, Art Magazine, March 3, p.1<br />
Mittringer, Markus, “Der Kompromiss als Zukunftswink”, Der Standard, June 20, p.31<br />
Noble, Kate, “The Art of Shopping”, Time Europe, November 18, art repro. p. 24<br />
Parola, Lisa “Steinbach, il Museo dell’o Ordanario”, Torinosette, January 4<br />
“Survey; Art World Commentary”, tema celeste, March – April 2002, pp. 72-75<br />
Tansini, Laura, “Mediatore di Oggetti”, ARS, April 2002, pp. 84 - 88<br />
2003 Crow, Thomas, “Marx to Sharks: the Art-Historical ‘80’s”, Artforum, April, pp.45 – 48<br />
Griffin, Tim, “Interview with Haim Steinbach,” Artforum, April<br />
Güner, Fisun, “Art Incorporated,” Metro, May, pp.26<br />
Herbert, Martin, “Shopping: A Century of Art and Consumer Culure, Art Monthly, February,<br />
cover, pp. 24<br />
Rimanelli, David, “Time Capsules 1980 – 1985,” Artforum, March, p. 134<br />
Rimanelli, David, “Time Capsules 1986 – 1990,” Artforum, April, p.87<br />
Senaldi, Marco, “Haim Steinbach: Essenza É Apparenza”, Impackt, February, cover, pp. 78 - 85<br />
Sharp, Amanda, “Amanda Sharp visits Prada and Moss with Haim Steinbach,” Frieze, April, pp.<br />
50 - 53<br />
Steinbach, Haim, artist’s project “More or Less”, Der Standard, Austria, May 13. p. 6, 7<br />
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S O N N A B E N D<br />
“The Trouble with Christian,” Artforum, March, p.243<br />
Wilsher, Mark, “Breaking God’s Heart”, What’s On In London, Dec.<br />
2004 Lawson, Thomas, “Infotainment: Thomas Lawson on Media Moguls,” Artforum, October, art<br />
repro p. 93<br />
2005 Bankowsky, Jack, “East Village USA,” Artforum, April, pp. 179 – 180, art repro. p. 179<br />
Celant, Germano, “Oggetti e feticci,” L’espresso, September, pp. 102<br />
Doran, Anne, “Passages,” Time Out New York, April 7 – 13, p. 82<br />
Gregg, Gail, “How to Talk to an Artist,” Artnews, June, pp. 114<br />
Huntington, Richard, “Artists evoke da Vinci in ‘Reverse Engineers’”, Buffalo News, March<br />
Moreno, Gean, “Good Titles From Bad Books,” Art Us, p.20, art repro. p. 20<br />
“Ten Years – Generations of Art,” Fondazione Antonio Ratti, Como, La Provincia Suppliment,<br />
Apr, p. 6<br />
Vanderbilt, Tom, “Shop After Pop,” Artforum, May, pp. 77, 80, art repro. p. 77<br />
BAM/PFA, University of California, Berkeley Art Museum & Pacific Film Archive, Art & Film<br />
Notes, July/August, pp.5<br />
2006 _____________, “Freud and Contemporary Art: The Collection of the Sigmund Freud Museum<br />
Vienna,” The New Yorker, Goings On About Town, June 5<br />
Casadio, Mariuccia, “The Objects and Haim Steinbach”, L’uomo Vogue, October, pp. 45-47,<br />
art repro. pp 45-47<br />
Celant, Germano, “Haim Steinbach: An Existential Building Site,” InterReview, pp. 56-57,<br />
image p. 57<br />
Douglas, Sarah, “Staying Power”, Art + Auction, November, pp. 160-167, art repro. p. 164<br />
Estep, Jan, “More and Less: Haim Steinbach’s Dialectics,” InterReview, pp. 58 – 60, art repro. p.<br />
58<br />
Glueck, Grace, “Freud and Contemporary Art, The Collection of the Sigmund Freud Museum,<br />
Vienna,” The New York Times, June 16, p. E33<br />
Hilgenstock, Andrea, “Michael Pauseback und die Galerie Akira Ikeda”, Kunstzeitung, October,<br />
p.23<br />
Lapthisophon, Stephen, “Stephen Lapthisophon on Haim Steinbach,” InterReview, pp. 61 – 62,<br />
art repro. p. 61<br />
Lebovici, Elizabeth, “l’esprit de la matière”, Libération, mardi 2, February, art repro.<br />
Leydier, Richard, “Joseph Kosuth ‘Matter Grey’”, Art Press, February pp. 77 – 79<br />
“Matter Grey curated by Joseph Kosuth”, Les Inrockuptibles, n°538, March 21 and 27<br />
Ramade, Bénédicte, “Matiére grise”, L’oeil, n°578, March<br />
Rauer, Valentin, “The Thing in Search of Company: The Object and Social Texture in Haim<br />
Steinbach’s North East South West,” InterReview, pp. 63-66, art repro. p. 63<br />
Steinbach, Haim, “Artist's Project”, InterReview, pp. 20 – 28, cover<br />
Von Döltzschen, Ulrich, “Akira Ikeda <strong>Gallery</strong> zeigt Objekte von Haim Steinbach,” Die Welt, art<br />
repro.<br />
Wolfe-Suarez, Ginger, “Ginger Wolfe-Suarez Interviews Haim Steinbach,” InterReview, pp. 51-<br />
55, art repro. p. 53<br />
2007 __________, “Haim Steinbach,” The New Yorker, Goings On About Town, June 4, p. 17<br />
____________, “Haim Steinbach – Works 1983-2006”, Mousse, News, April, p. 79, art repro. p.<br />
79<br />
Bonazzoli, Francesca, “Mensole-ritratto” tra Duchamp e Carver, Gli oggetti reinventati<br />
dall’israeliano Haim Steinbach, Corriere Della Sera, April 11, p. 19, art repro. p. 19<br />
Ferrara, Jolanda, “L’opera concettuale di Haim Steinbach da Vistamare”, Il Centro – Cultura &<br />
Spettacoli, April 17, p. 42. art repro.<br />
Griffin, Tim, “Haim Steinbach,” Artforum, October, art repro. p. 368<br />
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S O N N A B E N D<br />
Hainley, Bruce, “Haim Steinbach,” Artforum, December, art repro. pp. 338, 339<br />
Meazza, Stefania, “Haim Steinbach – Lia Rumma, Milano; Vistamare, Pescara”, Il Segno, p.<br />
213, May – June<br />
Schwendener, Martha, “Proof That Things Are People Too (Well, Almost)”, The New York<br />
Times, May 18, art repro. p. E29<br />
Scuderi, Massimiliano, “Haim Steinbach – Vistamare/ Lia Rumma (MI)”, Flash Art, n. 269, June<br />
–July<br />
Scuderi, Massimiliano, “Haim Steinbach, Vistamare, Pescara” Arte e Critica, n. 51, June-July<br />
Tremblay, Nicholas, “Haim au pays des objets”, Numero, December/January, pp. 40-43, art<br />
repro. pp. 40-43<br />
2008 Ardenne, Paul, “Haim Steinbach”, Artpress, January, pp. 82, 83, art repro. p. 82<br />
Banai, Nuit, “John Armleder, Olver Mosset, Haim Steinbach,” Time Out New York, July 17-23,<br />
p. 58<br />
Benhamou-Huet, Judith, “L’a Aventura de Steinbach”, BC, Winter, pp. 54-57<br />
Heartney, Eleanor, “Haim Steinbach at <strong>Sonnabend</strong>,” Art in America, January, p. 132, art repro. p.<br />
132<br />
Porret, Karine, “Totems & Tabous”, Stilletto Homme, Febuary, pp. 88, 89, art repro. p. 89<br />
Steinbach, Haim, “The Artists on Artists: Haim Steinbach on Shelley Silver”, Artforum,<br />
December, p. 100<br />
Steinbach, Haim, “The Eyes Had It: Robert Pincus-Witten, Jeff Koons, and Haim Steinbach on<br />
Ileana <strong>Sonnabend</strong> (1914-2007)”, Artforum, January, pp. 73, 74<br />
Troncy, Eric, “Don’t Let Me Be The Last To Know.”, Frog, January, pp. 107-113<br />
Herbert, Martin, “Haim Steinbach”, Time Out London, June 19-25, p. 61, art repro. p.61<br />
_____________, “Armleder/Mosset/Steinbach,” The New Yorker, Goings On About Town, July<br />
7<br />
Johnson, Ken, “John Armleder, Olivier Mosset, Haim Steinbach”, The New York Times, August<br />
1, p.29<br />
SELECTED BOOKS AND CATALOGUES<br />
1988 Haim Steinbach: Recent Works, text Germano Celant, Jean-Louis Froment, Elisabeth Lebovici,<br />
John Miller, Haim Steinbach; capc Musee d’Art Contemporain de Bordeaux, (cat.)<br />
1990 Life-size / A Sense of the Real in Recent Art, text Carolyn Christov-Bakargiev, Germano Celant,<br />
Douglas Crimp, Suzanne Landau, Christian Leigh, Robert Storr, Martin Weyl; Israel Museum,<br />
Jerusalem,(cat.)<br />
Objectives: The New Sculpture, text Dan Cameron, Paul Schimmel, et al.; Newport Harbor Art<br />
Museum, California (publisher) (cat.)<br />
1991 Les Expositions du Palais des Beaux Arts; Joel Benzakin, Benjamin Buchloh, Germano Celant,<br />
John Knight, Dirk Snauwaert, Haim Steinbach; Imschoot, Uitgevers, Bruxelles (cat.)<br />
1992 no rocks allowed, Haim Steinbach; Witte de With Center for Contemporary Art,<br />
Rotterdam (cat.)<br />
1993 L’Ivresse du Reel: L-Objet dans l’art du XXè` siècle, text Guy Tosatto, Elizabeth Lebovici,<br />
Pierre Restany, et. al; Carré a’Art, Nimes, p. 20, 190; art repro. pp. 153-154 (cat.)<br />
Osmosis: Ettore Spalleti & Haim Steinbach, text Germano Celant, Thomas Krens, Nancy<br />
Spector; Guggenheim Museum, New York (cat.)<br />
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S O N N A B E N D<br />
Modernism in Dispute, Art since the Forties, Paul Wood, Francis Frascina, Johnathan Harris,<br />
Charles Harrison; Yale University Press, New Haven, pp. 241, 243<br />
1994 Acquisitions, 1985-1993, text Wim Beeren, Rini Dippel, Dorine Mignot, et. al.; Stedelijk<br />
Museum, Amsterdam, art repro. p.78 (cat.)<br />
Das Jahrhundert des Multiple: von Duchamp bis zur Gegenwart, text Zdenek Felix, Stefan<br />
Germer, Claus Pias, Katerina Vastella; Deichtorhallen Hamburg, Oktagon Verlag pp. 69, 227<br />
(cat.)<br />
Installation Art, Nicolas de Oliveira, Nicola Oxley, and Michael Petry, eds.; Smithsonian<br />
Institute Press, pp.125,154<br />
Public Art Issues #3 – Urban Paradise: Gardens in the City, text Tom Eccles, Patricia Phillips,<br />
et. al.; Public Art Fund, New York<br />
1995 Art Since 1940: Strategies of Being, text Johnathan Fineberg; Harry N. Abrams Inc. Publishers,<br />
New York, p. 459, art repro. p. 460<br />
Haim Steinbach, text Joshua Decter, Jean Pierre Dubost, Martin Prinzhorn, Trevor Smith et. al;<br />
Ritter Verlag, Klagenfurt Austria, (cat.)<br />
Haim Steinbach, text Ida Gianelli, Mario Perniola, Lynn Tillman, Giorgio Verzotti; Castello di<br />
Rivoli and Edizioni Charta Milan, (cat.)<br />
1996 Art of the Postmodern Era, text Irving Sandler; Harper Collins, New York , NY, pp. 482 - 483,<br />
491 - 493, 500, 507, 518, 528; illus. 492<br />
The Return of the Real, text Hal Foster; The MIT Press, Cambridge, pp. 107, 109-116, art repro.<br />
p. 113<br />
Art on the Edge and Over, text Linda Weintraub; Art Insights, Inc., Litchfield, CT.<br />
1997 Art Since 1960, text Michael Archer; Thames and Hudson, London, illus., pp. 171-172<br />
Citta Natura, text Carolyn Christov-Bakargiev, Maria Grazia Tolomeo, Ludovico Pratesi, et. al.;<br />
Fratelli Palombi Editori, Rome, illus., pp. 19, 179-181 (cat.)<br />
Kunst: die Weltgeschichte, texts Enrico Annoscia, Marco Biscione, Rossana Bossaglia, et. al.;<br />
DuMont Buchverlag, Cologne, illus., p. 665<br />
Movements in art since 1945, text Edward Lucie-Smith; Thames and Hudson, illus., p. 225<br />
Haim Steinbach, text Eva Badura-Triska, Bruce Ferguson, Michel Gaulthier, et. al.; Museum<br />
Moderner Kunst Stiftung Ludwig, Vienna<br />
1998 Anos 80: The Eighties, text Maria De Corral, Alexandre Melo, Dan Cameron, José Gil;<br />
Cultureguest, Lisbon, pp. 19, 157, illus. plates 82 and 83 (cat.)<br />
Artist/Author: Contemporary Artists’ Books, text Cornelia Lauf, Clive Phillpot, et. al.,<br />
Distributed Art Publishers, New York and The American Federation of the Arts, New York, pp.<br />
69, 75, 152, 158, illus. p. 150 (cat.)<br />
Art of the 20th Century, ed. by Ingo F. Walther, text by Karl Ruhrberg, Manfred Schenburger,<br />
Christiane Fricke, Klaus Hennef;Tashen, Köln, pp. 570-571, illus. p.571<br />
Conceptual Art, text Tony Godfrey; Phaidon Press Limited, London, pp. 394, 395, art repro. p.<br />
393<br />
Oxford History of Art — Sculpture Since 1945; text Andrew Causey; Oxford University Press,<br />
Oxford, pp. 229, 241, 246 - 247, 256, illus. p. 247<br />
Passage: Gideon Gechtman, Bertrand Lavier, Haim Steinbach; text Lorand Hegyi, Nira Itzhaki;<br />
Checlouche <strong>Gallery</strong> for Contemporary Art, Tel Aviv, English text pp. 5, 6-9, 25, Hebrew text pp.<br />
5, 6, 22-23, illus. pp 4 - 13, 33 (cat.)<br />
René Magritte and the contemporary art; text Willy Van den Bussche, et. al.; Museum voor<br />
Moderne Kunst, Oostende, p. 186, illus. pp. 187 - 189 (cat.)<br />
Haim Steinbach: Rossini at 4:00 a.m.; text Franca Mancini, Paolo Fabbri, Renato Barilli, Achille<br />
Bonito Oliva, et. al.; Galleria di Franca Mancini, Pesaro (cat.)<br />
1999 5000 Artists Return to Artists Space: 25 Years, ed. Claudia Gould, Valerie Smith<br />
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S O N N A B E N D<br />
Art at the Turn of the Millenium, ed. by Burkhard Riemschneider, Uta Grosenick; Taschen, art<br />
repro., pp. 471-481<br />
Contemporary Art During the Art Market Boom, text Max Hollein; Böhlau, Vienna, art repro.<br />
Haim Steinbach: Untitled (3 tents); text Zdenka Badovinac, Moderna galerija Ljubljana,<br />
Slovenia, (cat.)<br />
Heaven; ed. Doreet LeVitte Harten, Cantz Verlag, Ostfildern, Germnay, pp. 151-152, art. repro.<br />
p. 153 (cat.)<br />
KunstSammeln, ed. by Gotz Adriani, Museum Fur Neue Kunst,.Karlsruhe and Hatje Cantz, 1999.<br />
art repro. p. 154<br />
Mike Kelley, text John C. Welchman, Isabelle Graw, Anthoiny Vidler, Phaidon Press, London,<br />
pp. 67, 71, art repro. p. 71<br />
S.M.A.K, The Collection; text Jan Hoet & Laurens De Keyzer, Steven Jacobs, Els Roelandt;<br />
Ludion, Ghent - Amsterdam, for the Stedelijk Museum voor Actuele Kunst, Ghent, pp. 184. 186,<br />
197, art repro. p. 197 (cat.)<br />
2000 Dinge in der Kunst des XX. Jahrhunderts, text Christoph Vitali, Axel Hacke, Stephanie<br />
Rosenthal, et. al; Haus der Kunst, Munich and Steidl, Göttingen, pp. 248 – 251, art repro.<br />
Gratis. A bordo dell’arte, text Achille Bonito Oliva; Skira editore, Milano, art repro. p.XXVII<br />
Haim Steinbach, text Haim Steinbach, Angela Vettese, Giacinto Di Pietrantonio, Anna Daneri,<br />
Francesca Achibugi, Dimitris Kozaris, Marco Senaldi; Charta, Milan (cat.)<br />
Haim Steinbach: North East South West, text by Stephanie Rosenthal, Alexander Tolnay,<br />
Valentin Rauer, Bruce Ferguson; exhibition catalogue for Haus der Kunst, Munich; Hatje Cantz<br />
Verlag Ostfildern-Ruit (cat.)<br />
Konsum als Religion?: Uber die Wiederverzauberung der Welt, text Mattias Sellmann,<br />
Wolfgang Isenberg, et.al; B. Kuhlen Verlag, Monchengladbach, art repro. p. 58<br />
L’assenza Invadente del Divino, text Alberto Abruzzese, Giulio Giorello, Franco Speroni, Luisa<br />
Valeriani, Edizione de Luca, Italy, pp.19-21, art repro. pp. 30-31(cat.)<br />
Minimalism, ed. by James Meyer; Phaidon Press Limited, London, p. 39 (with art repro.)<br />
Over the Edges, Jan Hoet et.al., Stedelijik Museum voor Actuele Kunst, Gent, art repro. p. 232.<br />
(cat.)<br />
Partage D’ Exotismes: 5 th Biennale D’ Art Contemporain De Lyon, text Thierry Prat, Thierry<br />
Raspail, Jean-Hubert Martin, et. al; Reunion des Musees Nationaux, art repro. Vol. 2 pp. 79 - 80<br />
Robert Nickas Live Free or Die, Collected Writings 1985-1999, Shopping with Haim Steinbach,<br />
les presses du reel,pp. 32-42<br />
Castelli in aria: Art in Naples at the End of the Millennium, Umberto Allemandi & C., art<br />
reprod. p. 57<br />
2001 Armando Testa, text, Ida Gianelli, Haim Steinbach, et al; Edition Charta, Milan, pp 76-79, art<br />
repro. p.77 (cat.)<br />
la Storia dell’ ARTE, text Alfonso De Giorgis, Maria Carla Prette, Giunti, Firenze, art repro.,p<br />
258 (cat.)<br />
Monets Vermächtnis, text Christoph Heinrich, Ludger Derenthal, Martina Fuchs, et.al. Hatje<br />
Kantz Verlag, Germany, art repro. p.167<br />
Perfektimperfekt, text Stephan Schmidt-Wulffen, modo, Germany, pp. 152, 154, 163, 164, art<br />
repro., p.156<br />
Pictures, Patents, Monkeys, and More… On Collecting, text Ingrid Schaffner, Fred Wilson,<br />
Werner Muensterberger, Independent Curators International, New York, art repro., p.11 (cat.)<br />
The Overexcited Body; Arte e Sport nella Societe’ Contemporanea, text Vladimir Petrovsky,<br />
Sergio Scalpelli, Danilo Santos de Miranda, Adelina von Furstenberg, Yorgos Tzirtzilakis, Art<br />
for the World, Geneve, art repro., p. 90-91<br />
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2002 Art After Appropriation; Essays on Art in the 1990s, text John C. Welchman, G+B Arts<br />
International, Canada, pp. 19, 39,42-433 59, 228 art repro. p. 44<br />
Bibliomania 2000/2001, ed. and printed by Simon Morris and individual contributors, pp. 507-<br />
525, art repro. (cat.)<br />
Catalogue Raisonné Collection of Contemporary Art Fundación “la Caixa”, text Carles Guerra<br />
et. al., Gràfiques Iberia, Barcelona, Vol. 2 pp. 627-629, art repro. p. 628<br />
From Pop to Now, text Charles Ashley Stainback and Rachl Haidu, D.A.P., New York, p.134,<br />
art. repro. p. 135<br />
Le Livre du Frac-Collection Aquitaine Panorama de l’art d’aujourd’hui, text Guy Amsellem,<br />
Hervé Legros, et. al., Le Festin, France, pp. 650 – 653, art repro. pp 651 - 653<br />
Life Death Love Hate Pleasure Pain, text Elizabeth A.T. Smith, Alison Pearlman, Julie<br />
Rodrigues Widholm, et.al., Museum of Contemporary Art, Chicago, art repro. pp. 188-189<br />
NON, Haim Steinbach, artist’s project, One Star Press, France<br />
Perfektimperfekt, text Stephan Schmidt- Wulffen, modo, Germany, pp. 153, 154, 163, 164 art<br />
repro. p. 163<br />
This Is Not It, text Lynne Tillman, D.A.P., New York, art repro. p. 196<br />
2003 ∞NON, Haim Steinbach, artist’s project, Charta, Milano<br />
American Art Since 1945, by David Joselit, Thames & Hudson World of Art, New York pp.<br />
207–8, p. 215<br />
Art Since 1960; New Edition, by Michael Archer, Thames & Hudson world of art, London, pp.<br />
166 – 168, 184, 186<br />
Castello di Rivoli Museum of Contemporary Art; the Castle – the Collection, edited by Ida<br />
Gianelli and Marcella Beccaria, Umberto Allemandi & C., Turin, pp. 338–343<br />
Concrete Art: Ein Projekt von Graz, Graz 2003 Kulturhauptstadt Europas Organisations GmbH,<br />
Kunstlertexte, Edelbert Köb. Kunst Bundeskanzleramt.<br />
Je Veux, edited by Christophe Boutin, One Star Press, art repro., p. 35<br />
Or, artist’s book by Haim Steinbach, Fama & Fortune, Vienna<br />
Pearlman, Alison, Unpackaging Art of the 1980’s, University of Chicago Press, Chicago<br />
2004 Gibbons, Joan, From Capitalist Realism to Surrealism (and back again), (this is the name of<br />
chapter, name of book etc. to come)<br />
Lauf, Cornelia, Camera Oscura, Cornelia Lauf Edition, art reprod. p. 35<br />
Inside the Studio: Two Decades of Talks with Artists in New York, interviewed by ICI, Ed. Judith<br />
Olch Richards, Independent Curators International (ICI), New York, pp. 70–73.<br />
Intra-muros, Mamac, Nice, text by Denys Riout, Norbert Hillaire, Yvan Gastaut and Gilbert<br />
Perlein, art repro pp. 208-210.<br />
Liebesgrüsse aus Odessa für/for/á Peter Weibel, Merve Vverlag, Berlin, pp. 47 – 49<br />
Monument to Now: The Dakis Joannou Collection, DESTE Foundation for Contemporary Art,<br />
Ed. Jeffrey Deitch, art repro pp. 286 – 387<br />
East Village USA, Dan Cameron, Liza Kirwin, and Alan Moore, pp. 30, 51, 52<br />
Visions of America, Contemporary Art from the Essl Collection and the <strong>Sonnabend</strong> Collection,<br />
New York, Patrick Werkner, pp. 53, 61, 107, 109<br />
2005 Art and Advertising, text Joan Gibbons, I.B. Tauris & Co. Ltd., pp. 68, 70, 77, 81, art repro. p. 70<br />
Chronos –Il tempo nell’arte dall’epoca barocca all’eta contemporanea Centre CeSAC-<br />
Associazione Marcovalso, Caraglio (Cuneo) Italy, Andrea Busto, Edizioni Marcovaldo, pp. 342,<br />
343<br />
Flashback: Revisiting the Art of the 80’s, text Hatje Cantz Verlag, Kunstmusem Basel, Museum<br />
fur Gegenwartskunst, pp. 39,54, art repro. p. 118<br />
Frieze Projects: Artists’ Commissions and Talks 2003-2005, edited by Polly Staple and Melissa<br />
Gronlund, Frieze, pp. 124-135, 318, art repro. p. 124<br />
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Hyperframes: Un Discorso Sulla post-Appropriazione in Arte, Collins & Milazzo, Campanotto<br />
Editore, pp. 87, 89, 94, 95, 101, 124<br />
L’art Moderne Et Contemporain, by Serge Lemoine, Larousse, pp. 286, 287, art repro. p. 287<br />
Looking, Encountering, Staging, edited by Anke Bangma, published by Piet Zwart Institute &<br />
authors, Willem De Kooning Academy Publications, Rotterdam, Netherlands, p. 87<br />
Generations of Art, Fondazione Antonio Ratti, Como and Edizoni Charta, Milano, pp. 50-53,<br />
126<br />
(my private) Heroes, text Marta Herford, Kerber Publications, p. 71<br />
Sweet Dreams: Contemporary Art and Complicity, text Johanna Drucker, University of Chicago<br />
Press, pp. 67, 101<br />
2006 Contemporary Sculpture, Zwirner &Wirth, Transcontinental Litho Acme, Montreal, p. 6, art<br />
repro. pp. 55, 56<br />
Freud and Contemporary Art: The Collection of the Sigmund Freud Museum Vienna, Austrian<br />
Cultural Forum, New York, curated by Peter Pakesch and Inge Scholz-Strasser, pp. 30, 31<br />
Frieze Projects: Artists’ Commissions and Talks 2003-2005, edited by Polly Staple and Melissa<br />
Gronlund, Frieze, pp. 124-135, 318, art repro. p. 124<br />
Haim Steinbach, Percussion., text by Jan Estep, Akira Ikeda <strong>Gallery</strong>, Taura, Japan & Berlin,<br />
Germany (cat.)<br />
In the Darkest Hour, There May Be Light, Serpentine <strong>Gallery</strong>, London<br />
Les Rencontres Rossiniennes 1980-2005: venticinque anni di mostre del Teatro degli Artisti a<br />
Pesaro, Galleria di Franca Mancini, Pesaro, Umberto Allemandi &C., pp. 118-121<br />
Rebeginning, “Overexposed,” Self Service, Spring/Summer, published and edited by Ezra<br />
Petronio, p. 288<br />
Sculpture From the Sheldon Memorial Art <strong>Gallery</strong>, edited by Karon O. Janovy, University of<br />
Nebraska Press, Lincoln and London, pp. 209, 210, 211<br />
The Uncertainty of Objects and Ideas: Recent Sculpture, text Anne Ellegood, Hirshhorn<br />
Museum, Washington D.C. (cat.), p. 69, art repro. p. 69<br />
Zwanzig Jahre Schirn (Twenty Years of the Schirn: In Pictures and Interviews), edited by<br />
Herausgeber, Schirn Kunsthalle Frankfurt, art repro. pp. 311, 312<br />
2007 Living in the Material World: “Things” in Art of the 20 th Century and Beyond, published by<br />
National Art Center, Tokyo, pp. 289, 354, 360, 388, art repro. p. 233 (cat.)<br />
Minimalism and After, DaimlerChrysler Collection, text Renate Wiehager, p. 117, 480, art repro.<br />
62, 481<br />
Teme Celete, September/October, Special Project by Haim Steinbach, pp. 66-71<br />
The Contemporary Art Collection of the Sigmund Freud Museum, Vienna in Moscow, published<br />
by Stella Kay, curated by Peter Pakesch, Inge Scholz-Strasser, Boris Manner, pp. 28-29, art<br />
repro. p. 29<br />
Unmonumental: The Object in the 21 st Centry, “a minor place,” by Trevor Smith, p. 184, art<br />
repro. p. 187 (cat.)<br />
2008 Americamerica, by Matt Keegan, published by Printed Matter, New York, art repro. p. 43<br />
The American Tornado; Art in Power 1949-2008, by Germano Celant, published by Skira, art<br />
repro. pp. 371-384<br />
Artists’ Handbook, text Jan Ceuleers, S.M.A.K., The Hands of Art, published by Ludion,<br />
Belgium<br />
Block #05 / Shiny Nose, Published by Block Magazine, Tel Aviv, art repro. pp. 127-131<br />
Claude Closky 8002-9891, text Michel Gauthier, published by mac/val musee d’Art<br />
contemporain du Val-de-Marne, p, 91, 92, art repro. p. 91<br />
Encyclopaedia of Terrestrial Life Volume VIII, by Lydia Yee and Francesco Manacorda,<br />
published by Martian<br />
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Espèces D’espace – The Eighties First Part, Magasin, Grenoble, curated by Yves Aupetitallot,<br />
art repro. 114, 115, 119 (cat.)<br />
Museum of Terrestrial Art, Barbican Art <strong>Gallery</strong>, p. 221, art repro. p. 108<br />
Peep, Glimpses of the Last 4 Decades from the Kerry Stokes Collection, TarraWarra Museum of<br />
Art, Healesville, Victoria & Art Galery of Western Australia, Perth art repro. p. 41 (cat.)<br />
Reality Bag, Publication coordinated by John Armleder, PUMA Urban Mobility, the Serpentine<br />
<strong>Gallery</strong> and glamour engineering<br />
The Return of Religion and Other Myths: The Art of Iconoclasm, basis voor actuele kunst,<br />
Utrecht, Netherlands, curated by Sven Lütticken , art repro. p. 60 (cat.)<br />
Who Am I? What Am I? Where Am I?, by Aura Rosenberg, published by Hatje Cantz, Germany,<br />
images (collaborative) pp. 102-103, 167<br />
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