CHARLESWORTH BIO.indd - Susan Inglett Gallery

BIOGRAPHYSARAH CHARLESWORTH1995 Denson, G. Roger, CHASING ANGELS, (ChristineroseGallery, New York).Grigoteit, Ariane, et al., TRADITION AND ZEIT-GEIST: WORKS FROM THE COLLECTION OFDEUTSCHE BANK NORTH AMERICA, (DuMontVerlag, Köln).1994 Felshin, Nina, EMPTY DRESS: CLOTHING ASSURROGATE IN RECENT ART, (IndependentDecter, Joshua Don’t Look Now, (Thread WaxingSpace, New York).Morgan, Dahlia, AMERICAN ART TODAY:HEADS ONLY, (The Art Museum, Florida Int’l.University, Miami).1993 Phillips, Lisa, PHOTOPLAY: WORKS FROM THECHASE MANHATTAN COLLECTION, (The ChaseManhattan Corporation, New York).THE RETURN OF THE CADAVRE EXQUIS, (TheDrawing Center, New York).anonymous, SEX QUAKE - ART AFTER THEAPOCALYPSE, (1st Art- Genes Portable Museum).Hill-Perrell, Franklin, IMAGE MAKERS, (NassauCounty Museum of Art, Roslyn Harbor, NY).Jacobson, Marjory, ART FOR WORK: THE NEWRENAISSANCE IN CORPORATE COLLECTING,(Harvard Business School Press, Boston, MA).Brunon, Bernard P., AUTOPORTRAITS CON-TEMPORAINS: HERE’S LOOKING AT ME,(Espace Lyonnais d’Art Contemporain, Lyon,France).Espy-Burns, Victoria, VIVID: INTENSE IMAGESBY AMERICAN PHOTOGRAPHERS, (Raab Galerie,Berlin).1992 Bond, Anthony, et. al., 9th BIENNALE OF SYD-NEY: THE BOUNDARY RIDER, (Art Gallery ofNew South Wales, Sydney).Colpitt, Frances & Plous, Phyllis, KNOWLEDGE:ASPECTS OF CONCEPTUAL ART, (UniversityArt Museum, Santa Barbara).Rosenberg, Barry A.; Leigh, Christian; andStraus, Marc, J., QUOTATIONS: THE SECONDHISTORY OF ART, (The Aldrich Museum ofContemporary Art, Ridgefield, CT).1991 Morin, France, et al., THE INTERRUPTED LIFE,(New Museum of Contemporary Art, New York).Rubin, David S., CRUCIFORMED: IMAGES OFTHE CROSS SINCE 1980, (Cleveland Center forContemporary Art, Cleveland).Liebmann, Lisa, SOUTHEAST BANK COL-LECTS: A CORPORATION VIEWS CONTEMPO-RARY ART, (Southeast Bank)(cat.).Belli, Gabriella and Saltz, Jerry, AMERICANART OF THE 80s, (Electa, Milan).Gumpert, Lynn and Wallis, Brian, BEYOND THEFRAME: AMERICAN ART 1960-1990, (Instituteof Contemporary Art, Tokyo).Reynolds, Jock and Sheldon, James, MOTIONAND DOCUMENT - SEQUENCE AND TIME:EDWARD MUYBRIDGE AND CONTEMPORARYAMERICAN PHOTOGRAPHY, (National Museumof American Art, Smithsonian Institution,Washington, D.C.).1990 Derrickson, Stephen, INSECT POLITICS, BODYHORROR/SOCIAL ORDER, (Hallwalls ContemporaryArt Center, Buffalo).Gandini, Manuela, TAKING THE PICTURE: PHO-TOGRAPHY AND APPROPRIATION, (Castelli,NY and Gallery, Milan).Graw, Isabella & Lanzinger, Pia, DAS SIBYL-LINISCHE AUGE: FOTOKUNSTLERINNENAUS DEM ANGLO-AMERIKA-NISCHEN RAUM,(Foto e.V. München and Barbara Gross Gallery,Münich).Cooke, Lynne, REORIENTING: LOOKING EAST,(Third Eye Centre, Glasgow and Nicola Jacobs,London).1989 Smith, Joshua P. and Foresta, Merry A., THEPHOTOGRAPHY OF INVENTION: AMERICANPICTURES OF THE 1980’S, (M. I. T. Press, Cambridge).Grundberg, Andy and Saltz, Jerry, ABSTRAC-TION IN CONTEMPORARY PHOTOGRAPHY,(Emerson Gallery, Hamilton College and AndersonGallery, Virginia Commonwealth University).