Haim Steinbach - 85 Quay Street - Brooklyn - New York 11222
Haim Steinbach - 85 Quay Street - Brooklyn - New York 11222
Haim Steinbach - 85 Quay Street - Brooklyn - New York 11222
Create successful ePaper yourself
Turn your PDF publications into a flip-book with our unique Google optimized e-Paper software.
<strong>Haim</strong> <strong>Steinbach</strong> - <strong>85</strong> <strong>Quay</strong> <strong>Street</strong> - <strong>Brooklyn</strong> - <strong>New</strong> <strong>York</strong> <strong>11222</strong><br />
1944 Born Rehovot, Israel (United States since 1957)<br />
1962-68 Pratt Institute, <strong>Brooklyn</strong>, NY, B.F.A.<br />
1965-66 Université d’Aix Marseille, France, Diploma<br />
197l-73 Yale University, <strong>New</strong> Haven, CT, M.F.A.<br />
Lives in <strong>Brooklyn</strong>, <strong>New</strong> <strong>York</strong> and San Diego, California<br />
SOLO AND TWO-PERSON EXHIBITIONS<br />
1969 Panoras Gallery, <strong>New</strong> <strong>York</strong><br />
1973 Yale Art & Architecture Gallery, Yale University, <strong>New</strong> Haven<br />
1974 Johnson Gallery, Middlebury College, Middlebury<br />
1975 Lamagna Gallery, <strong>New</strong> <strong>York</strong><br />
1979 Display #5, Johnson Gallery, Cornell University, Ithaca<br />
Display #7, Artists Space, <strong>New</strong> <strong>York</strong><br />
1980 Changing Displays, Fashion Moda, Bronx<br />
1981 Concord Gallery, <strong>New</strong> <strong>York</strong><br />
Design for a Yogurt Bar, Berkshire Community College, Pittsfield, Massachusetts<br />
1983 Social Conquest, Graduate Center Mall, City University, <strong>New</strong> <strong>York</strong> (with Julia Wachtel)<br />
19<strong>85</strong> Cable Gallery, <strong>New</strong> <strong>York</strong><br />
1986 Jay Gorney Modern Art, <strong>New</strong> <strong>York</strong> (with Sherrie Levine)<br />
Washington Projects for the Arts, Washington D.C.<br />
seven wonderful children we have never seen, performance, The Kitchen, <strong>New</strong> <strong>York</strong> (with Perry Hoberman)<br />
1987 Galleria Lia Rumma, Naples<br />
Rhona Hoffman Gallery, Chicago<br />
Sonnabend Gallery, <strong>New</strong> <strong>York</strong><br />
1988 CAPC Musee d’art contemporain, Bordeaux (cat.)<br />
Jay Gorney Modern Art, <strong>New</strong> <strong>York</strong><br />
Galleria Lia Rumma, Capri<br />
1989 Galerie Roger Pailhas, Marseilles, France<br />
Galerie Yvon Lambert, Paris<br />
Margo Leavin Gallery, Los Angeles<br />
1990 Sonnabend Gallery, <strong>New</strong> <strong>York</strong><br />
1991 Galerie Yvon Lambert, Paris<br />
Galerie Samuel Lallouz, Montreal (with Meyer Vaisman)<br />
Galerie Faust, Geneva (with Julia Wachtel)<br />
Jay Gorney Modern Art, <strong>New</strong> <strong>York</strong><br />
Palais des Beax Arts, Bruxelles (with John Knight) (cat.)<br />
Rhona Hoffman Gallery, Chicago<br />
1992 La Criee, Rennes (with John Knight)<br />
no rocks allowed, Witte de With, Centre for Contemporary Art, Rotterdam (cat.)<br />
one five, Antwerp<br />
1993 Osmosis, Guggenheim Museum, <strong>New</strong> <strong>York</strong> (with Ettore Spalletti) (cat.)<br />
Sonnabend Gallery, <strong>New</strong> <strong>York</strong><br />
Achim Kubinski, Cologne<br />
Galerie Philomene Magers, Cologne<br />
1994 Ritter Kunsthalle, Klagenfurt, Austria (cat.)<br />
Galerie Hubert Winter, Vienna<br />
Galerie Yvon Lambert, Paris (with Robert Barry)<br />
1995 Castello di Rivoli Museo d’Arte Contemporanea, Rivoli/Torino (cat.)<br />
Strenesse Group, Fashion Show: Spring Sunmmer Collection 1996, Strenesse Group Showroom, Milan (Fashion Show<br />
installation and direction)<br />
Jay Gorney Modern Art, <strong>New</strong> <strong>York</strong>, (with Eadweard Muybridge and Michael Snow)<br />
1996 Art Gallery of <strong>York</strong> University, Toronto<br />
Strenesse Group Fall Winter Collection 1996, Strenesse Group Showroom, Milan (Fashion Show installation and<br />
direction)
Winnipeg Art Gallery, Winnipeg<br />
Galleria Lia Rumma, Naples<br />
1997 Camera Oscura Gallery, San Casciano (with Gwen Smith)<br />
Sonnabend Gallery, <strong>New</strong> <strong>York</strong><br />
Museum Moderner Kunst Stiftung Ludwig, Vienna (cat.)<br />
1998 John Hansard Gallery, University of Southampton, Southampton (cat.)<br />
Galerie & Edition Artelier, Graz (with Joseph Kosuth)<br />
Galerie Albrecht, Munich<br />
Galleria di Franca Mancini, Pesaro (cat.)<br />
Mala galerija, Moderna galerija Ljubljana, Slovenia (cat.)<br />
1999 Haifa Museum, Haifa (with Joseph Kosuth)<br />
Achim Kubinski Gallery, Berlin<br />
Fondazione Antonio Ratti, Como<br />
2000 North East South West, Neuer Berliner Kunstverein, Berlin (cat.)<br />
North East South West, Haus der Kunst, Munich (cat.)<br />
Hyperspace, Brussels<br />
2001 Galleria Massimo Minini, Brescia<br />
The Box, Torino<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 Sonnabend Gallery, <strong>New</strong> <strong>York</strong><br />
GBE (Modern), <strong>New</strong> <strong>York</strong><br />
Gimpel Fils, London<br />
2005 Matrix, Berkeley Art Museum, University of California, Berkeley (brochure)<br />
you don’t see it do you, Installation, Sonnabend Gallery, <strong>New</strong> <strong>York</strong><br />
2006 Akira Ikeda Gallery, Taura (cat.)<br />
Akira Ikeda Gallery, Berlin (cat.)<br />
2007 Galleria Lia Rumma, Milan<br />
Vistamare, Benedetta Spalletti, Pescara<br />
Sonnabend Gallery, <strong>New</strong> <strong>York</strong><br />
Gallerie Laurent Godin, Paris<br />
Akira Ikeda Gallery, <strong>New</strong> <strong>York</strong><br />
2008 Waddington Galleries, London<br />
Overduin and Kite, Los Angeles<br />
2009 Pets, Galerie Almine Rech, Paris<br />
Paris Meets Berlin Project, <strong>Haim</strong> <strong>Steinbach</strong> and Taryn Simon, Johann Koenig Gallery, Berlin<br />
2010 Display #67 - Forsythia - PLS5/2SB, Louis Vuitton Maison, London<br />
2011 creature, Tanya Bonakdar Gallery, <strong>New</strong> <strong>York</strong><br />
SELECTED GROUP EXHIBITIONS<br />
1972 Eight from Yale, Norfolk Gallery, Norfolk, Connecticut<br />
1973 Silvermine Guild of Artists, Connecticut, curated by Marcia Tucker<br />
Yale University Art Gallery, <strong>New</strong> Haven<br />
1974 Dartmouth College, Hanover<br />
1978 Cornell University Faculty Exhibition, Johnson Museum, Cornell University, Ithaca<br />
1979 Cornell University Faculty Exhibition (Display #5), Johnson Museum, Cornell University, Ithaca<br />
Memorial Art Gallery, University of Rochester, Rochester<br />
198l Colab’s A More Store: Christmas Show, White Columns, <strong>New</strong> <strong>York</strong><br />
Ecological Issues, Hunter College, <strong>New</strong> <strong>York</strong><br />
The Ninth <strong>Street</strong> Survival Show, P.S. 122, <strong>New</strong> <strong>York</strong><br />
Washington Projects for the Arts, Washington D.C. (with Johanna Boyce)<br />
1982 Benefit for Planned Parenthood, Semaphore Gallery, <strong>New</strong> <strong>York</strong><br />
Colab’s A More Store: Christmas Show, Barbara Gladstone Gallery, <strong>New</strong> <strong>York</strong><br />
Holiday Show, A.I.R. Gallery, <strong>New</strong> <strong>York</strong><br />
Invitational: Laurie Anderson, Scott Burton, Wolfgang Laib, Martin Puryear, <strong>Haim</strong> <strong>Steinbach</strong>, (red cross), Bell Gallery,<br />
List Art Center, Brown University, Providence (brochure)<br />
The Shit Show, Kwok Gallery, <strong>New</strong> <strong>York</strong><br />
1983 Colab’s A More Store: Christmas Show, Jack Tilton Gallery, <strong>New</strong> <strong>York</strong><br />
CAPS Fellowships Recipients, l983 Sculpture, City Gallery, <strong>New</strong> <strong>York</strong>
Concord Gallery, <strong>New</strong> <strong>York</strong><br />
Hundreds of Drawings, Artists Space, <strong>New</strong> <strong>York</strong><br />
Inside/Out, Bronx River Restoration Art Center, Bronx, <strong>New</strong> <strong>York</strong>, curated by Ann Philbin<br />
<strong>New</strong>space, L.E.S.S. at P.S. 122, <strong>New</strong> <strong>York</strong><br />
Objects, Structures, Artifice; American Sculpture 1970 - 1983, SVC Fine Arts Gallery, University of South Florida,<br />
Tampa, and Center Gallery, Bucknell University, Lewisburg, curated by Michael Klein (cat.)<br />
Phenomenal Projects, Planet-Mapping of the Body, (window installation), Ten on Eight, <strong>New</strong> <strong>York</strong><br />
Preparing for War, Terminal <strong>New</strong> <strong>York</strong> Show, <strong>Brooklyn</strong><br />
Subculture, Group Material installation in <strong>New</strong> <strong>York</strong> subways, <strong>New</strong> <strong>York</strong><br />
1984 Benefit, Wedge Magazine, Gallery Nature Morte, <strong>New</strong> <strong>York</strong><br />
Domesticity, Suellen Haber Gallery, <strong>New</strong> <strong>York</strong><br />
East of East Village, Dramatis Personae Gallery, <strong>New</strong> <strong>York</strong><br />
Objectivity, Hallwalls, Buffalo, <strong>New</strong> <strong>York</strong>, curated by Robin Dodd<br />
Timeline, Group Material installation, PS1, Long Island City<br />
19<strong>85</strong> Cult and Decorum, Tibor de Nagy Gallery, <strong>New</strong> <strong>York</strong>, curated by Tricia Collins and Richard Milazzo<br />
Gallery Nature Morte, <strong>New</strong> <strong>York</strong><br />
Infotainment, Livet Reichard Co., Inc., and Nature Morte, <strong>New</strong> <strong>York</strong>; traveling exhibition, Texas Gallery, Houston,<br />
Texas; Rhona Hoffman Gallery, Chicago, Illinois; Vanguard Gallery, Philadelphia, Pennsylvania, Aspen Art<br />
Museum, Aspen, Colorado, De Selby Gallery, Amsterdam, Galerie Montenay-Delsol, Paris<br />
Jonathan Lasker, Wallace & Donahue, <strong>Haim</strong> <strong>Steinbach</strong>, Jay Gorney Modern Art, <strong>New</strong> <strong>York</strong><br />
Mass, Group Material installation, <strong>New</strong> Museum of Contemporary Art, <strong>New</strong> <strong>York</strong><br />
Group Show, Michael Kohn Gallery, Los Angeles<br />
Objects in Collision, The Kitchen, <strong>New</strong> <strong>York</strong>, curated by Howard Halle<br />
Post Production, Feature Gallery, Chicago<br />
1986 A Brokerage of Desire, Otis Art Institute, Los Angeles, Walter Hopps and Howard Halle curators<br />
Arts & Leisure, Group Material installation, The Kitchen, <strong>New</strong> <strong>York</strong><br />
The Color Red, Massimo Audiello, <strong>New</strong> <strong>York</strong><br />
Damaged Goods: Desire and The Economy of The Object, <strong>New</strong> Museum of Contemporary Art, <strong>New</strong> <strong>York</strong>, curated by<br />
Brian Wallis<br />
Donald Young Gallery, Chicago<br />
Endgame: Reference and Simulation in Recent Painting and Sculpture, Institute of Contemporary Art,<br />
Boston (cat.)<br />
Group Show, Cable Gallery, <strong>New</strong> <strong>York</strong><br />
Group Show, Jay Gorney Modern Art, <strong>New</strong> <strong>York</strong><br />
Group Show, Postmasters Gallery, <strong>New</strong> <strong>York</strong><br />
<strong>New</strong> <strong>New</strong> <strong>York</strong>, Cleveland Center for the Contemporary Arts, Cleveland, and Bard College, <strong>New</strong> <strong>York</strong>, curated by<br />
Arthur Solway<br />
<strong>New</strong> Sculpture: Robert Gober, Jeff Koons, <strong>Haim</strong> <strong>Steinbach</strong>, The Renaissance Society at the University of Chicago,<br />
Chicago, curated by Gary Garrels (cat.)<br />
Paravision 2, Margo Leavin Gallery, Los Angeles, curated by Tricia Collins and Richard Milazzo<br />
Post Pop Art, Michael Kohn, Los Angeles<br />
Prospect 86, Frankfurter Kunstverein, Schirn Kunsthalle, Frankfurt<br />
Rooted Rhetoric, Castell Dell’Ovo, Naples, curated by Gabriele Guercio (cat.)<br />
Time After Time, Diane Brown, <strong>New</strong> <strong>York</strong>, curated by Tricia Collins & Richard Milazzo<br />
Vito Acconci, Stuart Sherman, <strong>Haim</strong> <strong>Steinbach</strong>, and Richard Wentworth, Carpenter & Hochman Gallery,<br />
<strong>New</strong> <strong>York</strong><br />
1987 Art and Its Double, Fundacion Caja de Pensiones, Barcelona and Madrid; Dan Cameron curator (cat.)<br />
Art Against Aids, Paula Cooper Gallery, NY<br />
Art Against Aids - A Benefit Exhibition, Jay Gorney Modern Art, <strong>New</strong> <strong>York</strong><br />
Avant-Garde in the Eighties, Los Angeles County Museum of Art, Los Angeles (cat.)<br />
Currents l2: Simulations, <strong>New</strong> American Conceptualism, Milwaukee Art Museum, Milwaukee<br />
Extreme Order, Lia Rumma Gallery, Naples, curated by Tricia Collins & Richard Milazzo<br />
Industrial Icons, University Art Gallery, State University, San Diego<br />
Les Courtiers du Desir, Centre Georges Pompidou, Paris, curated by Walter Hopps and Howard Halle<br />
Margo Leavin Gallery, Los Angeles<br />
N.Y. Art Now, The Saatchi Collection, London (cat.)<br />
<strong>New</strong> <strong>York</strong> <strong>New</strong>, Paul Maenz, Cologne<br />
<strong>New</strong> <strong>York</strong> Now, The Israel Museum, Jerusalem (cat.)<br />
One Hand Clapping, Karsten Schubert, Ltd., London.<br />
Perverted by Language, Hillwood Art Gallery, Long Island University, C.W. Post Campus, Greenvale, NY, curated<br />
by Robert Nickas<br />
The Pop Project: Part IV, Nostalgia as Resistance, The Clocktower, <strong>New</strong> <strong>York</strong>, curated by Thomas Lawson<br />
Post-Abstract Abstraction, Aldrich Museum of Contemporary Art, Ridgefield, Connecticut (cat.)<br />
Primary Structures, Rhona Hoffman Gallery, Chicago, curated by Robert Nickas
Reconstruct, John Gibson Gallery, <strong>New</strong> <strong>York</strong>, curated by Robert Nickas<br />
Romance, Knight Gallery, Charlotte, North Carolina, curated by Ronald Jones<br />
Tenth Anniversary Benefit Auction, The <strong>New</strong> Museum of Contemporary Art, <strong>New</strong> <strong>York</strong><br />
The Castle, Documenta 8, Kassel, Germany; Group Material installation<br />
The Transformative Vision, Davis/McClain Gallery, Houston<br />
1988 60s/80s Sculpture Parallels, Sidney Janis Gallery, <strong>New</strong><strong>York</strong><br />
A Common Thread, Artschwager: His Peers and Persuasion l963-l988, Daniel Weinberg Gallery, Los Angeles; Leo<br />
Castelli Gallery, <strong>New</strong> <strong>York</strong><br />
A ‘Drawing’ Show, Cable Gallery, curated by Jerry Saltz<br />
Art at the End of the Social, Rooseum, Sweden, curated by Tricia Collins and Richard Milazzo<br />
Broken Neon, Galerie Durr, Munich<br />
Collections pour une region, CAPC Musee d’art contemporain, Bordeaux<br />
Cultural Geometry, Deste Foundation, Athens, curated by Jeffrey Deitch (cat.)<br />
Democracy: Cultural Participation, Dia Art Foundation; Group Material installation<br />
Fonds National d’Art Contemporain, Acquisitions, 1988, Centre Arts Plastiques, Paris<br />
Hover Culture, Metro Pictures, <strong>New</strong> <strong>York</strong>, curated by Ronald Jones<br />
Hybrid Neutral: Modes of Abstraction and the Social, The University of North Texas Art Gallery, Denton (1988); The J<br />
B Speed Art Gallery, Louisville, KY (1989); Alberta College Gallery of Art, Calgary, Alberta, Canada (1989); The<br />
Contemporary Arts Center, Cincinnati, OH (l989); Richard F. Brush Art Gallery, St. Lawrence University, Canton,<br />
NY (l989); Santa Fe Community College Art Gallery, Gainesville, FL (l990), curated by Tricia Collins and Richard<br />
Milazzo<br />
Innovations in Sculpture 19<strong>85</strong> - 1988, Aldrich Museum, Ridgefield, Connecticut<br />
Metamorphosis of the Object, The Israel Museum, Jerusalem<br />
Jay Gorney Modern Art, <strong>New</strong> <strong>York</strong><br />
Moda Italia, (Coat of Arms, installation), Pier 88, <strong>New</strong> <strong>York</strong><br />
<strong>New</strong> Urban Landscape, The World Financial Center, <strong>New</strong> <strong>York</strong> (cat.)<br />
<strong>New</strong><strong>York</strong> in View, Munich Kunstverein, Munich (cat.)<br />
Redefining the Object, Wright State University, Dayton; Cleveland Center for Contemporary Art, Cleveland<br />
Schlaf der Vernunft, Museum Fridericianum, Kassel, Germany, curated by Veit Loers (cat.)<br />
The Return of the Hero, Burden Gallery, <strong>New</strong> <strong>York</strong>, curated by Karen Marta<br />
The Sonnabend Collection, Centro de Arte Reina Sofia, Madrid, Spain, 1987-l988; CAPC Musee d’art contemporain,<br />
Bordeaux, 1988; Art Cologne, Cologne, l988; Hamburger Bahnhof Berlin, l989; Galleria Nazionale d’Arte<br />
Moderna, Rome, l989; Museo d’Arte Moderna e Contemporanea di Trento e Rovereto l989; Musee Rath, Geneva,<br />
l990; Sezon Museum of Art, Tokyo, l990; The Miyagi Museum of Art, l990; The Fukuyama Museum of Art, l990;<br />
The National Museum of Modern Art, Kyoto, 1991 (cat.)<br />
The Binational, American Art of the Late 80’s , The Institute of Contemporary Art, Boston Museum of Fine Arts,<br />
Boston (1988), Stadtische Kunsthalle, Kunstsammlung Nordrhein-Westfalen; Kunstverein fur die Rheinlande und<br />
Westfalen, Dusseldorf (1988); Kunsthalle Bremen (1988); Wurttembergischer Kunstverein Stuttgart (1989) (cat.)<br />
Three Decades, The Oliver-Hoffman Collection, group exhibition, Museum of Contemporary Art, Chicago (cat.)<br />
Works-Concepts-Situations-Information, Galerie Hans Meyer, Dusseldorf (l988-l989), curated by Robert Nickas (cat.)<br />
80’s International, Langer & Co., <strong>New</strong> <strong>York</strong><br />
1989 A Forest of Signs, Museum of Contemporary Art, Los Angeles, curated by Mary Jane Jacob and Ann Goldstein<br />
(cat.)<br />
Abstraction in Question, The John and Mable Ringling Museum of Art, Sarasota, Florida; Center for The Fine Arts,<br />
Miami, organized by Joseph Jacobs, curated by Bruce Ferguson, Joan Simon, and Roberta<br />
Smith (cat.)<br />
Complex Object, Galeria Marga Paz, Madrid, curated by Alexandre Melo<br />
Conspicuous Display, Stedman Art Gallery, Rutgers University, Camden<br />
D&S Ausstellung, Kunstverein in Hamburg (cat.)<br />
Horn of Plenty, Stedelijk Museum, Amsterdam, curated by Gosse Oosterhof (cat.)<br />
Jet Lag, Turon Travel, Inc., <strong>New</strong> <strong>York</strong>, curated by Jan Avgikos and Michael Corris<br />
Microsculpture, University of Rhode Island, Kingston, Rhode Island, curated by Willoughby Sharp (cat.)<br />
Natura/Naturata (An Argument for Still Life), Josh Baer Gallery, <strong>New</strong> <strong>York</strong>, curated by Cornelia Lauf<br />
Oeuf Alpha, CAPC Musee d’art contemporain, Bordeaux<br />
Periodi di Marmo, XX Rassegna Internazionale d’Arte di Acireale, Italy, curated by Germano Celant (cat.)<br />
Pictures from an Exhibition, Galerie Bebert, Rotterdam, Netherlands; Davis/McClain Gallery, Houston<br />
Repetition, Hirschl & Adler Modern, <strong>New</strong> <strong>York</strong>; Oberlin College, Oberlin, OH<br />
Selections from the Collection of Marc and Livia Straus, The Aldrich Museum of Contemporary Art, Ridgefield,<br />
Connecticut<br />
The Silent Baroque, Gallerie Thaddaus J. Ropac, Salzburg, Austria, curated by Christian Leigh (cat.)<br />
une autre affaire, le Consortium, Dijon, France (1989-1990)<br />
Wall Objects, Editions Schellmann, <strong>New</strong> <strong>York</strong> (1989-1990)<br />
What is Contemporary Art?, Rooseum, Malmo, Sweden, curated by Dan Cameron
Wittgenstein, The Play of the Unsayable, Wiener Secession, Vienna (1989); Palais des Beaux Arts, Bruxelles, Belgium<br />
(1990); curated by Joseph Kosuth (cat.)<br />
1990 Affinities and Intuitions, The Gerald S. Elliot Collection, The Art Institute of Chicago, Chicago (cat.)<br />
Art et Publicite, Centre Georges Pompidou, Paris (cat.)<br />
Art Against AIDS, Washington D.C., organized by Livet Reichard (cat.)<br />
Le Spectaculaire, Centre d’Histoire de l’Art Contemporain, Rennes, curated by Jean-Marc Poinsot (cat.)<br />
Life-size, The Israel Museum, Jerusalem, curated by Suzanne Landau (cat.)<br />
Lotte, or the Transformation of the Object, Grazer Kunstverein, and Stadtmuseum Graz, Graz, curated by Clementine<br />
Deliss (cat.)<br />
Multiples, Hirschl & Adler Modern, <strong>New</strong> <strong>York</strong> (cat.)<br />
Objectives: The <strong>New</strong> Sculpture, The <strong>New</strong>port Harbor Art Museum, <strong>New</strong>port Beach, curated by Paul Schimmel (cat.)<br />
Ouverture, Galerie Roger Pailhas, Paris<br />
Reproduced Authentic, Galerie Via Eight, Tokyo, curated by Joseph Kosuth (cat.)<br />
Stuttering, Stux Gallery, <strong>New</strong> <strong>York</strong> (1990-199l)<br />
The Decade Show, The <strong>New</strong> Museum of Contemporary Art; The Studio Museum in Harlem; Museum of<br />
Contemporary Hispanic Art, <strong>New</strong> <strong>York</strong> (cat.)<br />
The Future of the Object! A Selection of American Art; Minimalism and After, Galerie Ronny Van de Velde, Antwerp<br />
(cat.)<br />
The Children’s Aids Project, Daniel Weinberg Gallery, Los Angeles<br />
The Stendhal Syndrome, Andrea Rosen Gallery, <strong>New</strong> <strong>York</strong>, curated by Catherine Liu (cat.)<br />
The Last Decade, Tony Shafrazi Gallery, <strong>New</strong> <strong>York</strong>, curated by Tricia Collins and Richard Milazzo (cat.)<br />
Un Art de la Distinction?, Abbaye Saint-Andre, Centre d’Art Contemporain, Meymac, Correze, France, curated by<br />
Caroline Bissiere and Jean-Paul Blanchet (cat.)<br />
Vertigo, Galerie Thaddeus Ropac, Paris, curated by Christian Leigh<br />
Word as Image, Milwaukee Art Museum, Milwaukee, (1990); Oklahoma City Art Museum, Oklahoma City (1990-<br />
199l); Contemporary Arts Museum, Houston (199l) (cat.)<br />
Worlds, Joensuu Art Museum, Joensuu, Finland (cat.)<br />
1991 Altrove: Between Image and Identity, Between Identity and Tradition, Centro per l’Arte Contemporanea Luigi Pecci,<br />
Prato, curated by Octavio Zaya (cat.)<br />
American Art of the 80’s, Museo d’Arte Moderna e Contemporanea, Trento, (1991-l992)<br />
Anni Novanta, Galleria d’Arte Moderna, Bologna, curated by Renato Barilli (cat.)<br />
Beyond the Frame: American Art, l960 - l990, Setagaya Art Museum, Tokyo; National Museum of Art, Osaka;<br />
Fukuoka Art Museum (cat.)<br />
Colors of Money, Musee de la Poste, Paris, curated by Jean-Michel Ribettes (cat.)<br />
Das Goldene Zeitalter, Wurtembergischer Kunstverein, Stuttgart (1991-l992), curated by Tilman Osterwald (cat.)<br />
Denk-Bilder: Kunst der Gegenwart l960-l990, Kunsthalle der Hypo-Kulturstiftung Munchen; Von der Heydt<br />
Museum, Wuppertal, Germany, curated by Zdenek Felix (cat.)<br />
Desplazamientos, Aspectos de la identidad y culturas, Centro Atlantico de Arte Moderno, Las Palmas de Gran<br />
Canaria (1991); Altrove, Centro Per l’Arte Contemporanea Luigi Pecci, Prato (1991-1992), curated by Octavio Zaya<br />
(cat.)<br />
History as Fiction, Meyers/Bloom Gallery, Santa Monica (brochure)<br />
Joseph Kosuth, Michalangelo Pistoletto, <strong>Haim</strong> <strong>Steinbach</strong>, Jay Gorney Modern Art, <strong>New</strong> <strong>York</strong><br />
Joseph Beuys, Anne and Patrick Poirier, <strong>Haim</strong> <strong>Steinbach</strong>, Galerie Thaddaeus Ropac, Salzburg<br />
La Poesie de l’Objet, Tresor d'Art, Saanenmoser, Switzerland<br />
Just what is it that makes today's homes so different, so appealing?, The Hyde Collection, Glens Falls, <strong>New</strong> <strong>York</strong>,<br />
curated by Dan Cameron (cat.)<br />
L'Espai I La Idea, Centre Cultural de La Fundacio la Caixa, Barcelona<br />
Love Ball 2: The Crowning Glory, benefit auction, Barneys, <strong>New</strong> <strong>York</strong><br />
Metropolis, Martin-Gropius-Bau, Berlin, curated by Christos M. Joachimides and Norman Rosenthal (cat.)<br />
Multiple Indefinite, Galerie Bebert, Rotterdam, Netherlands<br />
Objects for the Ideal Home / The Legacy of Pop Art, Serpentine Gallery, London, curated by Marco Livingstone (cat.)<br />
once again the world is flat / Martin Kippenberger, Joseph Kosuth, <strong>Haim</strong> <strong>Steinbach</strong>, Galleria Juana de Aizpuru, Madrid<br />
Power: its Myths and Mores in American Art, 1961-1991, Indianapolis Museum of Art, Indianapolis; Akron Art<br />
Museum, Akron; Virginia Museum of Fine Arts, Richmond, curated by Holliday T. Day (cat.)<br />
The Adventure of the Object, Quindicesima Biennale Internazionale del Bronzetto Piccola Scultura, Padova, Italy<br />
(1991-1992), curated by Renato Barilli and Pierre Restany<br />
Vertigo, The Remake, Galerie Thadeus Ropac, Salzburg, curated by Christian Leigh (cat.)<br />
1992 15th Anniversary Exhibition, Rhona Hoffman Gallery, Chicago (cat.)<br />
George-Philippe Vallois Galerie, Paris<br />
1968, Consortium, Dijon, curated by Robert Nickas (cat.)<br />
A <strong>New</strong> American Flag, Invitational Exhibition, Max Protech Gallery, <strong>New</strong> <strong>York</strong><br />
Acquisitions 19<strong>85</strong>-1992, Stedelijk Museum, Amsterdam (1992-1993) (cat.)<br />
Al(l)ready Made, Museum voor Hedendaagse Kunst's-Hertogenbosch, Netherlands, (cat.)<br />
Avantgarde & Kampagne, Kunsthalle Dusseldorf
CROSSECTION, The World Financial Center, Battery Park, <strong>New</strong> <strong>York</strong><br />
Documenta IX, Kassel, curated by Jan Hoet, Pier Luigi Tazzi, and Dennys Zacharopoulos (cat.)<br />
Kunst und Kitsch, Markthalle Moderne Kunst, Stuttgart<br />
La Collection: Tableau Inaugral, Musee d ’Art Contemporain de Montreal, Montreal,<br />
<strong>New</strong> and Different: Recent Acquisitions, Sheldon Memorial Art Gallery, University of Nebraska, Lincoln<br />
Paris l99l, Galerie Thaddaeus Ropac, Paris<br />
Psycho, Kunsthalle, <strong>New</strong> <strong>York</strong>, curated by Christian Leigh (cat.)<br />
Refusing to Surface: Art and the Transfiguration of the Ordinary, John Hansard Gallery, The University of<br />
Southampton, Southampton, (1992); Ikon Gallery, Birmingham (1992-1993); South London Gallery, London<br />
(1993), curated by Nicholas de Ville<br />
Seville Universal Exhibition l992, Fundacao de Serralves, Seville, Portugal<br />
The Ninth Biennale of Sydney, Art Gallery of <strong>New</strong> South Wales, Sydney, curated by Anthony Bond (cat.)<br />
Theoretically Yours, Pier Carlo Rusci, Assessore alla Pubblica Istruzione, Aosta, Italy, curated by Tricia Collins and<br />
Richard Milazzo (cat.)<br />
Translation, Center for Contemporary Art at Ujazdowski Castle, Warsaw, curated by Kim Levin (cat.)<br />
TROPISMS: The collection of Contemporary Art. Fundacio‘la Caixa,’ Centre Culturel la Caixa, Barcelona<br />
Up to You, Achim Kubinski, <strong>New</strong> <strong>York</strong><br />
Yvon Lambert Collectionne, Musée des Beaux-Arts deTourcoing, Musée d ’art moderne de la Communauté,<br />
Villeneuve d'Asq, France<br />
1993 A matchbox enclosed..., The Yavne Art Workskop Gallery, Yavne<br />
Artists Only: A Recording Studio, Achim Kubinski Gallery, <strong>New</strong> <strong>York</strong><br />
Art and Application, Turbulence Gallery, <strong>New</strong> <strong>York</strong>; curated by Rick Kaufmann and Christine Ollier (cat.)<br />
Cat. van de Collectie: In Extenso I: 1989-1992, Museum van Hedendaagse Kunst, Gent (cat.)<br />
Le Choses et les mots, Galerie Thaddaeus Ropac, Paris<br />
Collections pour une region, CAPC Musee d’art contemporain,, Bordeaux (cat.)<br />
De Receptie VI / [Erratum], Archipel artists space, Apeldoorn, Netherlands, organized by Foundation Still<br />
Fall From Fashion, The Aldrich Museum of Contemporary Art, Ridgefield (cat.)<br />
The Foreign / The Guest, Offenes Kulturhaus, Linz, curated by Kurt Kladler and Elisabeth Madlener (cat.)<br />
Friendly, Dooley Le Cappellaine, <strong>New</strong> <strong>York</strong>, curated by Janine Gordon and Trudie Riess<br />
Gent te Gast, De Beyerd Breda, Centrum voor Beeldene Kunst, Gent, curated by Jan Hoet<br />
Ghost-limb, Basilico Fine Arts, <strong>New</strong> <strong>York</strong><br />
Giftland II: Extra-ordinary (featured artist), Printed Matter, <strong>New</strong> <strong>York</strong><br />
Group Show, Annina Nosei Gallery, <strong>New</strong> <strong>York</strong>, curated by Valerie Del-Sol<br />
I am the Enunciator, Thread Waxing Space, <strong>New</strong> <strong>York</strong>, curated by Christian Leigh<br />
The Intellectual Conscience of Art, Galerie d’Eendt, Amsterdam<br />
L’Ivresse du Reel: L-Objet dans l’art du XXè` siècle, Musee d’Art Contemporain, Nimes (cat.)<br />
Markets of Resistance, White Columns, <strong>New</strong> <strong>York</strong>, curated by Karen Jones (cat.)<br />
Selected Wall Works, Edition Schellmann, <strong>New</strong> <strong>York</strong> (1993-1994)<br />
SEX MONEY - POLITICS, Nancy Drysdale Gallery, Washington, D.C. (cat.)<br />
Slittamenti, XLV Esposizione Internationale d’Arte, Biennale of Venice, curated by Christian Leigh<br />
The Return of the Cadavre Exquis, The Drawing Center, <strong>New</strong> <strong>York</strong><br />
Territorio Italiano, Documentario, Milan, curated by Giacinto Di Pietrantonio<br />
Tutte le Strade Portano a Roma?, Palazzo delle Esposizioni Roma, curated by A. Bonito Oliva<br />
Viaggo Verso Cittera, XLV Esposizione Internazionale d’Arte, Venice Biennale, curated by Francesca Pasini, (cat.)<br />
Yours, Wooster Gardens, <strong>New</strong> <strong>York</strong>, curated by Michael Jenkins<br />
Up Close: Contemporary Art from the Mallin Collection, Herbert F. Johnson Museum of Art, Cornell University,<br />
Ithaca<br />
Wall Installations, Edition Schellmann, Koln<br />
1994 1st Annual Gramercy International Gramercy Park Hotel, <strong>New</strong> <strong>York</strong><br />
Arce de Noé/Noah’s Ark, Fundaçao de Serralves, Porto, curated by Marga Paz<br />
The Century of the Multiple, Deichtorhallen Hamburg<br />
Collection of <strong>New</strong> Acquisitions, Center for Contemporary Art at Ujazdowski Castle, Warsaw<br />
Comme dans une image, Gilbert Brownstone & CIE, Paris<br />
Contemporary Art Collection, The Israel Museum, Jerusalem<br />
Elvis + Marilyn: 2 x IMMORTAL, The Institute of Contemporary Art, Boston, (1994-1995); Contemporary Arts<br />
Museum, Houston (1995); Mint Museum of Art, Charlotte (1995); Cleveland Museum of Art, Cleveland (1995);<br />
Jacksonville Museum of Contemporary Art (1995-1996); Portland Museum of Art (1996); Philbrook Museum of<br />
Art, Tulsa (1996); Columbus Museum of Art, Columbus (1996); Tennessee State Museum, Nashville (1996); San<br />
Jose Museum of Art, San José (1996-1997); Honolulu Academy of Art, Honolulu (1997), Hokaido Bihiro Museum<br />
of Art, Hokkaido (1997), Daimaru Museum, Umeda, Osaka (1997), Takamatsu City Museum of Art, Takamatsu<br />
(1997), Sogo Museum of Art, Yokohama (1997), Mitsukoshi Museum of Art, Fukuoaka, (1998), Kumamoto<br />
Prefectural Museum of Art, (1998), curated by Wendy McDaris (cat.)<br />
Entre la PRESENCIA y la REPRESENTACION - the Collection of the ‘La Caixa’ Contemporary Art Foundation, Centro<br />
Atlantico de Arte Moderno, Las Palmas, Canary Islands (cat.)
The First Fundraising Event to Benefit American Fine Arts, Co. American Fine Arts, Co and Colin de Land Fine Art,<br />
<strong>New</strong> <strong>York</strong><br />
Group Exhibition: Sonnabend Gallery, <strong>New</strong> <strong>York</strong><br />
Group Exhibition, Contemporary Collection, Musée de Grenoble, Grenoble<br />
Kommentar zu Europa, Museum Moderner Kunst, Vienna; Mutualite Francais, Paris; Sala Parpalio - Palau dels<br />
Scala, Valencia, curated by Lorand Hegyi (cat.)<br />
L’objet: du magasin au museé, Villa du Parc, Annemasse, France (cat.)<br />
Le Cosanti Nell’Arte, Lia Rumma Storehouse, Naples<br />
Même si c’est la nuit, CAPC Musee d’art contemporain, Bordeaux<br />
The Music Box Project, The Equitable Gallery, <strong>New</strong> <strong>York</strong> (1994 -1995); Long Beach Museum of Art, California<br />
(1995); Japanese Tour organized by Nanjo and Associates, Tokyo (Summer 1995); Columbus Museum of Art,<br />
Ohio (1995 - 1996); Center for the Fine Arts, Miami (1996); European Tour, 1996-98, curated by Claudia Gould<br />
(cat.)<br />
Opera Prima, Fuori Uso ‘94; Ex opificio Gaslini, Pescara; Trevi Flash Art Museum,Palazzo Lucarini, Trevi;<br />
Cankarjev Don in Ljubliana, Slovenia; curated by Giacinto Di Pietrantonio (cat.)<br />
Portraits de femmes, Chateau Notre-Dame des Foeurs, Vence, curated by Marianne and Pierre Nahon (cat.)<br />
Pour la vie, CAPC Musée d’Art Comtemporain, Bordeaux<br />
Private Mix, 1 Galerie Eigen + Art, Berlin, curated by Olaf Nicolai and Frank Eckart, (cat.)<br />
Sculpture: Group Exhibition, Rhona Hoffman Gallery, Chicago<br />
Selections from the Collection, The Israel Museum, Jerusalem<br />
Tradition and Invention: Contemporary Artists Interpret the Japanese Garden, organized for Art Against AIDS, Japan;<br />
Sogetsu Plaza, Sogetsu Kaikan (1994), Threadwaxing Space, <strong>New</strong> <strong>York</strong> (1995), curated by Nam June Paik, Robert<br />
Rauschenberg, and Hiroshi Teshigahara (cat.)<br />
Urban Paradise: Gardens in the City, PaineWebber Art Gallery, <strong>New</strong> <strong>York</strong>, curated by Tom Eccles (cat.)<br />
wandstücke III, Bob van Orsouw Galerie, Zurich<br />
1995 Caravanserraglio Arte Contemporanea, Fuori Uso‘95, Pescara, curated by Giacinto Di Pietroantonio<br />
Co-Existence: Construction in Process, Mizpeh Ramon, Israel, organized by Yigal Ozeri<br />
Collections en mouvements: 70+ 911+, Centre de Creation Contemporaine, Tours<br />
Corpus delicti, Museum van Hadendaagse Kunst, Gent (cat.)<br />
Crash, Thread Waxing Space, <strong>New</strong> <strong>York</strong>; curated by Robert Reynolds and Thomas Zummer<br />
Fashion is a Verb: Expanding the Definition, The Museum at the Fashion Institute of Technology, <strong>New</strong> <strong>York</strong><br />
Galerie Duran Dessert, Paris<br />
Group Show, Sonnabend Gallery, <strong>New</strong> <strong>York</strong><br />
It’s Only Rock and Roll: Rock and Roll Currents in Contemporary Art, The Contemporary Arts Center, Cinncinatti, OH<br />
(1995-1996); Lakeview Museum of Arts and Sciences, Peoria (1996); Virginia Beach Center for the Arts (1996);<br />
Tacoma Art Museum, Washington D.C. (1996); Jacksonville Museum of Art, Jacksonville (1996); Bedford Gallery<br />
at the Regional Center for the Arts, Walnut Creek (1996-1997); The Phoenix Art Museum, Phoenix (1997); Rock<br />
and Roll Hall of Fame, Cleveland (1997); Lowe Art Museum, University of Miami, Miami (1997-1998); Milwaukee<br />
Art Museum, Milwaukee (1998), curated by David S. Rubin (cat.)<br />
Kunst: Brauch, Galerie 5020, Salzburg (cat.)<br />
Lawrence Weiner, <strong>Haim</strong> <strong>Steinbach</strong>, Jason Reed, Pierogi 2000, <strong>New</strong> <strong>York</strong><br />
Margo Leavin Gallery, 25 Years: An Exhibition of Selected Works, Margo Leavin Gallery, Los Angeles (cat.)<br />
Marilyn: Il Mito, Valentino Accademia, Rome (1995-6); Gio Marconi and Fundazione Mudima, Milan (1996);<br />
Antica Stazione Leopolda, Florence (1996) (cat.)<br />
Money Talks, Art Walks, (Benefit Auction for Art Metropole) Linda Genereux Gallery, Toronto<br />
Musée d’Art Moderne, Saint Ettiene<br />
Pop Art, Museum of Contemporary Art, Dallas Museum of Art, Dallas<br />
Personal Heroes, Galerie De La Tour, Amsterdam<br />
Pieces - Meublés, Galerie Jousse Seguin, Paris, curated by Bob Nickas<br />
round-about, Galerie Beatrice Wasserman, Munich<br />
Smells Like Vinyl, Roger Merians Gallery, <strong>New</strong> <strong>York</strong><br />
Still Leben, Nationalmuseum, Stockholm, curated by Görel Cavalli-Björkman, Jan von Gerber, and Bo Nillson<br />
(cat.)<br />
Temporarily Possesed: The Semi-Permanent Collection, The <strong>New</strong> Museum of Contemporary Art, <strong>New</strong> <strong>York</strong>,<br />
organized by Brian Goldfarb, John Hatfield, Laura Trippi, and Mimi young (cat.)<br />
Untitled (Reading Room), Margo Leavin Gallery, Los Angeles<br />
1996 Aluminum Pieces, Schellman Edition, <strong>New</strong> <strong>York</strong><br />
Body Language, Museum of Fine Art, Florida State University, Tallahassee (cat.)<br />
Box, Fotouhi Cramer Gallery, <strong>New</strong> <strong>York</strong><br />
C - The Seven Deadly Sins, Benefit Auction for C Magazine, Toronto<br />
Collezionismo a Torino, Castello di Rivoli Museo d’Arte Contemporanea, Torino (cat.)<br />
Drawings: Spring 1996, Sandra Gering Gallery, <strong>New</strong> <strong>York</strong><br />
Everything That’s Interesting is <strong>New</strong>: The Dakis Joannou Collection, Athens School of Fine Arts, Athens; Museum of<br />
Modern Art, Copenhagen (cat.)
Fragmentatie, Triple X, Amsterdam<br />
Group Show, Jay Gorney Modern Art, <strong>New</strong> <strong>York</strong><br />
Handmade Readymades, The Bertha and Karl Leubsdorf Art Gallery, Hunter College of the City of <strong>New</strong> <strong>York</strong>,<br />
curated by Thomas Weaver (cat.)<br />
Hold It!, benefit exhibition and auction, Los Angeles County Museum of Art, Los Angeles<br />
Ideal Standard Life, organized by the committee of Art at Home, Spiral Garden, Tokyo (cat.)<br />
Inauguration de la Galerie Roger Pailhas Marseille; 10 Annees d’ Activite Artistique, Galerie Roger Pailhas, Marseilles<br />
Machins Trucs Choses; petit air connu, Carré-Musée Bonnat, Bayonne<br />
Model Home, Clocktower Gallery, <strong>New</strong> <strong>York</strong><br />
NowHere (Walking and Thinking and Walking), Louisiana Museum of Art, Humlebaek, Denmark, curated by Bruce<br />
Ferguson (cat.)<br />
Panoramas; 1981-1996, la collection du Frac Bretagne, Grand Hotel du Golf et des Panoramas, St. Briac, Bretagne<br />
(cat.)<br />
Passions Privées; Collections particulières d’art moderne et d’art contemporain, Musée d’Art Moderne de la Ville<br />
de Paris, Paris (cat.)<br />
Perdu Gagné C’est Oublié: FRAC Collection Aquitaine no. 5, Carré Musée Bonnat, Bayonne<br />
Sammlung Sonnabend, Deichtorhallen Hamburg (Feb.-May); Kunsthalle Der Hypo- Kulturstiftung, Munich<br />
1997 504, Zentrum für Kunst, Medien und Design, Braunschweig, organized by John Armleder<br />
Art Mocscow, International Art Fair, Central House of Artist’s, Moscow<br />
XLVII Esposizione Internazionale D'Arte, Venice Biennale, curated by Germano Celant (cat.)<br />
Citta Natura, Pallazzo delle Esposizioni, Rome, curated by Carolyn Cristov-Bakargiev (cat.)<br />
Colección de Arte Contemporáneo, Fundación “la Caixa” Palacio Almudi, Murcia, organized by Maria de Corral<br />
(cahier)<br />
Dramatically Different, Magasin, Centre National D’Art Contemporain, Grenoble, curated by Eric Troncy with<br />
Yves Aupetitallot and Alessandra Galasso (cat.)<br />
Group Show, Sonnabend Gallery, <strong>New</strong> <strong>York</strong><br />
Group Show, Foundation for the Arts, Sigmund Freud-Museum, Vienna, curated by Joseph Kosuth (cahier)<br />
Kunst..Arbeit, Südwestdeutsche Landesbank Forum, Stuttgart, curated by Stephan Schmidt-Wulffen (cat.)<br />
Kunstlerinnen, Kunsthaus Bregenz, Bregenz, curated by Edelbert Köb (cahier and video)<br />
Magie der Zahl, Staatsgalerie Stuttgart, Stuttgart (cat.)<br />
Normotic, One Great Jones Gallery, <strong>New</strong> <strong>York</strong>, curated by David Humphrey<br />
Odisseo (Ulysses), Stadio Della Vittoria, BARI, curated by Giacinto di Pietroantonio (cat.)<br />
Reviews (Une Discussion, Un Choix, Une Exposition), Galeria Roger Pailhas, Marseille (with a discussion of <strong>Haim</strong><br />
<strong>Steinbach</strong>’s work by Olivier Zahm as part of a lecture series that accompanied this exhibition)<br />
1998 Anos 80: The Eighties, Culturguest, Lisbon, curated by Maria de Corral (cat.)<br />
Artist/Author: Contemporary Artists’ Books, Weatherspoon Art Gallery, Greensboro; The Emerson Gallery, Clinton,<br />
<strong>New</strong> <strong>York</strong>; Museum of Contemporary Art, Chicago; Lowe Art Museum, Coral Gables, Florida (1999); Western<br />
Gallery, Bellingham, Washington (1999); University Art Gallery, Amherst (1999) (cat.)<br />
Arterias, Collection of Contemporary Art Fundació “la Caixa”, Malmö Konsthall, Malmö, Sweden<br />
Autour du Mundial, Galerie Enrico Navarra, Paris (cat.)<br />
Bathroom, Thomas Healy Gallery, <strong>New</strong> <strong>York</strong>, curated by Wayne Koestenbaum<br />
Collection, un autre regard, CAPC Musée d’art contemporain, Bordeaux<br />
Ensemble Moderne; Das Moderne Stilleben, Galerie Thaddeus Ropac, Salzburg, and Galerie Thaddeus Ropac, Paris,<br />
curated by Günter Salzmann (cat.)<br />
Fast Forward, Trade Marks, Kunstverein, Hamburg, curated by Stephan Schmidt-Wulffen<br />
Fetishes & Fetishisms, Passage de Retz, Paris (cat.)<br />
Interpreting, The Rotunda Gallery, <strong>Brooklyn</strong><br />
Kunst ohne Unikat, Edition Artelier, Graz, 19<strong>85</strong> -1998, Steirischer Herbst 98, Neuen Galerie am Landesmuseum<br />
Joanneum, Graz, curated by Peter Weibel (cat.)<br />
Lifestyle, Kunsthaus Bregenz, Austria, curated by Edelbert Köb<br />
Material Perfection: Minimal Art and Its Aftermath selecte1d from the Kerry Stokes Collection, Lawrence Wilson Art<br />
Gallery, University of Western Australia, Perth, curated by John Stringer (cat.)<br />
Passage — International Art Encounters, Project #3: Gideon Gechtman, Bertrand Lavier, <strong>Haim</strong> <strong>Steinbach</strong>, Chelouche<br />
Gallery, Tel Aviv (cat.)<br />
Pop/Abstraction, Museum of American Art, Pennsylvania Academy of the Fine Arts, Philadelphia<br />
Pop Surrealism, The Aldrich Museum of Contemporary Art, Ridgefield (cat.)<br />
René Magritte and the contemporary art, Museum voor Moderne Kunst, Oostende, curated by Willy van den<br />
Bussche (cat.)<br />
Selected Works from the Sonnabend Collection, Musee d’art Moderne, St. Ettiene<br />
1999 bibliomania (selecting the process of selection), Waterstones, London and Leeds, London, curated by Simon Morris<br />
and Helen Sacoor (cat.)<br />
Building Histories, Apex Art, <strong>New</strong> <strong>York</strong>, curated by Maureen Connor<br />
Calender 2000 Project, Center for Curatorial Studies, Bard College, Annandale-on-Hudson, <strong>New</strong> <strong>York</strong><br />
Decades in Dialogue: Perspectives on the MCA Collection, Museum of Contemporary Art, Chicago
Die Farben Schwarz, Landesmuseum Joanneum, Graz, curated by Thomas Zaunschirm (cat.)<br />
Espace, modes d’emploi: Ouvres de la collection du Frac Bretagne, Centre d’art Passerelle, Brest, France<br />
Free Coke; line, drawing & paper, Greene Naftali, <strong>New</strong> <strong>York</strong><br />
Group Show, Achim Kubinski Gallery, Berlin<br />
Heaven; An Exhibition that Will Break Your Heart, Kunsthalle Dusseldorf, (1999); Tate Gallery, Liverpool, (1999 -<br />
2000), curated by Doreet LeVitte Harten (cat.)<br />
In...Cubo, Associazione Artisti Contemporanei Firenze e Metropoli (slide projection project at the Piazza SS.<br />
Annunziata, Florence)<br />
La Collezione, Castello di Rivoli, Torino, curated by Marcella Beccaria<br />
Originale echt falsch - Nachahmung, Kopie, Zitat, Aneignung Fälschung in der Gegenwartskunst, Neues Museum<br />
Weserburg, Bremen, curated by Thomas Deecke (cat.)<br />
Scripta Manent, Esso Gallery, <strong>New</strong> <strong>York</strong><br />
Shelf Life, Center for Curatorial Studies, Bard College, Annandale-on-Hudson, <strong>New</strong> <strong>York</strong>, curated by Denise<br />
Markonish<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, <strong>New</strong> <strong>York</strong>, curated by<br />
Lydia Yee and Betti-Sue Hertz (cat.)<br />
Visual Arts Salute, A Tribute to Harvey Lichtenstein, BAM, Feigen Contemporary, <strong>New</strong> <strong>York</strong>, organized by Livet<br />
Reichard for the <strong>Brooklyn</strong> Academy of Music (cat.)<br />
Dreaming III, Contemporary American Art & Japanese Old Ceramics, Akira Ikeda Gallery/<strong>New</strong> <strong>York</strong> (cat.)<br />
2000 Around 1984: A Look at Art in the Eighties, P.S.1, Long Island City, curated by Carolyn Christov-Bakargiev<br />
Artisti Collezionisti, Palazzo Delle Papesse, Siena, Italy, curated by Cornelia Lauf and Pieranna Cavalchini<br />
Art Club Berlin, Messegelände Berlin-Charlottenburg, Germany, curated by Klara Wallner (circa 2000)<br />
Concept Jewel, ELP Studio, Rome; Sofie Lachaert, Tielrode, Belgium; Anna Schwarz, Melbourne, curated by<br />
Cornelia Lauf<br />
Castelli in aria: Art in Naples at the End of the Millennium, Castel Sant’Elmo, Naples, curated by Angela Tecce<br />
DINGE: in der Kunst des XX. Jahrhunderts, Haus der Kunst, Munich, curated by Stephanie Rosenthal and Hubertus<br />
Gassner (cat.)<br />
Editions and Multiples 1990 – 2000, Helga Maria Klosterfelde, Hamburg<br />
Home-Made, Musée International des Arts Modestes, Sete (cat.)<br />
Home Sweet Home, Kunsthaus Muerz, Murzzuschlag, Austria, curated by Edelbert Kob<br />
Fifty Years: Faculty Art at Middlebury, Middlebury College Museum of Art, Middlebury<br />
KunstSammeln, Museum fur Neue Kunst/ZKM, Karlsruhe (cat.)<br />
Picture Show: Kunst und Mode, Kunsthof, Berlin; curated by Manuel Bonik and Undine Goldberg<br />
L’assenza invadente del divino, Castel Sant’Angelo, Rome, curated by Luisa Valeriani and Franco Speroni<br />
Over the Edges: The Corners of Gent, Stedelijk Museum voor Actuele Kunst, Gent (cat.)<br />
Partage d’Exotismes, 5th Biennale d’Art Contemporain de Lyon, Lyon, curated by Jean-Hubert Martin (cat.)<br />
Pasajes de la colección en Málaga: Colección de Arte Contemporáneo Fundación “La Caixa,” Palacio Episcopal, Málaga<br />
Four Works, Sonnabend Gallery, <strong>New</strong> <strong>York</strong><br />
SEQUENCES, Galerie Roger Pailhas, Marseille (cat.)<br />
Wall Paintings, Le SPOT studio d’art contemporain, Le Havre<br />
2001 About Objects, RISD Museum, Providence, curated by Judith Tannenbaum,<br />
Alumni Choice; An Exhibition of Works on Paper, Yale University, <strong>New</strong> Haven, curated by Andrew Forge<br />
<strong>Brooklyn</strong>, Institute of Contemporary Art, Palm Beach, curated by Michael Rush and Dominique Nahas<br />
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 la Maison, curated by Jean-<br />
Paul Criqui, Ecole superieure d’ arts, Lorient<br />
Monet’s Legacy Series: Order and Obsession, Hamburger Kunsthalle, Hamburg (cat.)<br />
Markers, Venice Biennale, Italy, curated by Ryszard Wasko, Liliana Kadichevski, et.al.<br />
Multiple, Galerie Van Gelder, Amsterdam, curated by Jack Jaeger<br />
<strong>New</strong> Heimat, Frankfurter Kunstverein, Frankfurt, curated by Nicolaus Shafhausen<br />
Pictures, Patents, Monkeys, and More… On Collecting, Western Gallery, Bellingham, Washington; John Michael<br />
Kohler Arts Center, Sheboygan, Wisconsin; Akron Art Museum, Akron, Ohio (2002); Fuller Museum of Art,<br />
Brockton, Massachusetts (2002); Institute of Contemporary Art, University of Pennsylvania, Philadelphia (2002);<br />
Pittsburgh Center for the Arts, Pittsburgh (2003)<br />
Playgrounds and Toys for Children, curated by Adelina von Furstenberg; Geneva; Palazzo della Esposizione, Rome;<br />
United Nations Building, <strong>New</strong> <strong>York</strong><br />
Postmodern Americans; a selection, The Menil Collection, Houston, curated by Walter Hopps<br />
SEQUENCES; troisieme volet, Galerie Roger Pailhas, Marseille, 2001<br />
Shoes or No Shoes?, Het Museum Voor Schoene Kunsten, Provinciaal Centrum voor Kunst, Gent, Belgium<br />
Tele[visions], Kunsthalle Vienna, curated by Joshua Decter<br />
Group Show, Sonnabend Gallery, <strong>New</strong> <strong>York</strong>
The Overexcited Body; Arte e Sport nella Societe’ Contemporanea, Office des Nations Unies, Geneve; Velodromo<br />
Vigarelli, Milano and Pallazo dell’ Arengario, Milano (2001); SESC Pompeia, Sao Paulo (2001); Hopitaux<br />
Universitaires de Geneve (2002); Queens Museum (2001), curated by Adeline con Furstenberg (cat.)<br />
2002 American Atelier, Galleria d’Arte Moderna di Bologna; curated by Renato Barilli<br />
Big Brown Bag, Gavin Brown Enterprise GBE (Modern), <strong>New</strong> <strong>York</strong><br />
Conceptes de L’Espai, selected works of the Museum Moderner Kunst Stiftung Ludwig Wien, Fundació Miro,<br />
Barcelona<br />
From Pop to Now; Selections from the Sonnabend Collection, The Tang Teaching Museum and Art Gallery, <strong>New</strong> <strong>York</strong>;<br />
Wexner Center for the Arts at Ohio State University, Columbus; Milwaukee Art Museum, Milwaukee (2003);<br />
curated by Charles Stainback, (cat.)<br />
Group Show, Sonnabend Gallery, <strong>New</strong> <strong>York</strong><br />
Jeux Dans Le Miroir, works from the Frac-collection Aquitaine, Antenne IUFM, Mont-de-Marsan, France<br />
L’art d’ aujourd’hui: un choix dans la collection du Fonds national d’art contemporain, Musée de Grenoble, France<br />
Life, Death, Love, Hate, Pleasure, Pain: Selected Works from the MCA Collection, Museum of Contemporary Art,<br />
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 University<br />
Markers, Orensanz Foundation, Center for the Arts, <strong>New</strong> <strong>York</strong><br />
Maximum Sensations, Mitchell Museum, Mt. Vernon<br />
Private/Corporate I: A Dialogue of the Collections Paul Maenz and Daimler Art Collection, DaimlerChrysler, Berlin (cat.)<br />
Shopping, Schirn Kunsthalle, Frankfurt; Tate Liverpool, Liverpool; curated by Max Hollein and Christophe<br />
Grunenberg<br />
Surface to Surface, Mary Boone Gallery, <strong>New</strong> <strong>York</strong>; curated by Max Henry<br />
toys II, Kagan Martos Gallery, <strong>New</strong> <strong>York</strong><br />
2003 After Shock; the Legacy of the Readymade in Post-War and American Art, Dickinson Gallery, <strong>New</strong> <strong>York</strong>; curated by<br />
Frances Naumann<br />
Artists’ Gifts, Museum of Contemporary Art, Los Angeles; curated by Anne Goldsetin<br />
Breaking God’s Heart, 38 Langham <strong>Street</strong>, 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 Kristine Haugaard<br />
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, Sonnabend Gallery, <strong>New</strong> <strong>York</strong><br />
Group Show, Home of Rob Pruitt and Jonathan Horowitz, Fleischmanns, <strong>New</strong> <strong>York</strong>; curated by R. Pruitt and J.<br />
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 Barry<br />
Never Mind Your Step, Kunsthalle Palazzo, Liestal, Basel; curated by John Armleder and Team 404<br />
Pop Thru Out, Arario Gallery, Chungchungnam-do, Korea; curated by Mary Dinaburg<br />
Twentieth Anniversary Exhibition: Welcome Home, Gavin Brown Enterprise/GBE (Modern), <strong>New</strong> <strong>York</strong>; curated by<br />
Gavin Brown<br />
2004 Brillant(e), Kunst Meran/Merano Arte, Merano, Italy; curated by Anne Schloen, Hannes Gamper and<br />
Matthias Schönweger<br />
Domestic Archeology: Boston and Beyond, The Rose Art Museum of Brandeis University, Waltham, Massachusetts;<br />
curated by Raphaela Platow<br />
East Village USA, <strong>New</strong> Museum of Contemproary Art, <strong>New</strong> <strong>York</strong>; curated by Dan Cameron<br />
Future Noir, Gorney, Bravin and Lee, <strong>New</strong> <strong>York</strong><br />
Intra – Muros, Museé d’Art Moderne et d’Art Contemporain, Nice, France; curated by Gilbert PerleinMonument to<br />
Now: The Dakis Joannou Collection, DESTE Foundation for Contemporary Art, Athens, Greece; curated by Dan<br />
Cameron, Jeffrey Deitch, Massimiliano Gioni, Alison M. Gingeras and Nancy Spector<br />
None of the Above, Swiss Institute of Contemporary Art, <strong>New</strong> <strong>York</strong>; curated by John Armleder<br />
Pioneering Spirits: Modern and Contemporary Art from Area Collections, Scottsdale Museum of Art, Arizona<br />
Private/Corporate II: A Dialogue of Two Contemporary Collections Ileana Sonnabend, <strong>New</strong> <strong>York</strong>, and Daimler Art<br />
Collection, Daimler Contemporary, Berlin<br />
Rubell Family Collection, Miami (cat.)<br />
Specific Objects, Museum of Contemporary Art San Diego, San Diego; curated by Stephanie Hanor<br />
Suburban House Kit, Deitch Projects, <strong>New</strong> <strong>York</strong>; curated by Jeffrey Deitch<br />
Symbolic Space, Hudson Valley Center for Contemporary Art. Peekskill, <strong>New</strong> <strong>York</strong>; curated by Marc and Livia<br />
Straus<br />
Visions of America: Contemporary Art from the Essl Collection and the Sonnabend Collection, Vienna; curated by<br />
Barbara Steffan<br />
20 th Anniversary Show, Castello di Rivoli, Rivoli/Turin (<strong>Haim</strong> <strong>Steinbach</strong> solo showcase)<br />
2005 Chronos, Centre CeSAC-Associazione Marcovalso, Caraglio, Cuneo
Coleccion de Arte Contemporaneo Fundacion “la Caixa,” Museo De Bella Artes, Spain<br />
Flashback: Revisiting the Art of the 80’s, Kunst Museum Basel, Museum fur Gegenwartskunst; curated by Philipp<br />
Kaiser<br />
Good Titles for Bad Books, Kevin Bruk Gallery, Miami; curated by Matthew Brannon<br />
Looking at Words: The Formal Presence of Text in Modern and Contemporary Works on Paper, Andrea Rosen Gallery,<br />
<strong>New</strong> <strong>York</strong>; curated by Barbaralee Diamonstein-Spielvogel<br />
Minimalism and After IV (<strong>New</strong> Acquistions), Sammlung DaimlerChysler Contemporary, Berlin<br />
Reverse Engineers, Carnegie Art Center, North Tonawanda, <strong>New</strong> <strong>York</strong>; curated by Julia Dzwonkowski<br />
The Sonnabend Collection, Museo d’Arte Contemporanea Donnaregina, Naples; curated by Mario Codognato and<br />
Eduardo Cicelyn<br />
Threshold, Max Wigram Gallery, London<br />
2006 busy going crazy, Collection Sylvio Perlstein, La Maison Rouge, Paris<br />
Branded and On Display, Krannert Art Museum and Kinkead Pavilian, University of Illinois at Urbana-<br />
Champaign, Illinois; curated by Judith Hoos Fox and Ginger Gregg Duggan (cat.)<br />
Contemporary Sculpture, Zwirner & Wirth, <strong>New</strong> <strong>York</strong> (cat.)<br />
Czeslaw Milosz/To Allen Ginsberg, Dvir Gallery, Tel Aviv<br />
Faster! Bigger! Better!, ZKM/Museum für Neue Kunst und Medientechnologie, Karlsruhe<br />
Freud and Contemporary Art: The Collection of the Sigmund Freud Museum Vienna, Austrian Cultural Forum, <strong>New</strong><br />
<strong>York</strong>; curated by Peter Pakesch and Inge Scholz-Strasser (cat.)<br />
In the Darkest Hour, There May Be Light, Serpentine Gallery, London; curated by Damien Hirst (cat.)<br />
Matter Grey, Galerie Almine Rech; Paris, curated by Joseph Kosuth<br />
memento mori, Mireille Mosler, Ltd., <strong>New</strong> <strong>York</strong><br />
Minimalism and After IV: <strong>New</strong> Acquisitions, Daimler Contemporary, Berlin (cat.)<br />
Our Marvelous Ambition, Vilma Gold, London<br />
The Gold Standard, PS1, <strong>New</strong> <strong>York</strong>; curated by Walead Beshty and Robert Nickas<br />
Unique, Mitchell, Innes & Nash, <strong>New</strong> <strong>York</strong><br />
60 th Annivesary Show, Gimpel Fils, London; curated by Des Hughes<br />
2007 Basel Art Fair, Almine Rech Gallery; curated by Anselm Reyle<br />
Living in the Material World – “Things” in Art of the 20 th Century and Beyond, The National Art Center, Tokyo<br />
not like you remembered (Louise Lawler, Thomas Locher, <strong>Haim</strong> <strong>Steinbach</strong>), Galerie Six Friedrich Lisa Ungar,Munich<br />
plug, Sister Gallery, Los Angeles; curated by Art Design Office<br />
The Happiness of Objects, Sculpture Center, Queens; curated by Sarina Basta<br />
The Office, Tanya Bonakdar Gallery, <strong>New</strong> <strong>York</strong><br />
Making and Finding, The Foundation To-Life, Inc. Exhibition Space, Mount Kisco, <strong>New</strong> <strong>York</strong>; curated by Katy<br />
Siegel<br />
Versameling Roger en Hilda Matthys-Colle, Museum Dhondt-Dhaenens, Deurle<br />
The Contemporary Art Collection of the Sigmund Freud Museum, Vienna in Moscow, Stella Art Foundation, Moscow;<br />
curated by Inge Scholz-Strasser, Peter Pakesch, Boris Manner<br />
2008 Art Focus, Jerusalem; curated by Ami Barak<br />
The Art of the Real, Vanmoerkerke Collection, Oostende, Belgium; curated by Robert Nickas<br />
Espèces D’espace – The Eighties First Part, Magasin, Grenoble, curated by Yves Aupetitallot (cat.)<br />
Every Revolution is a Roll of the Dice, Ballroom, Marfa, Texas; organized by Bob Nickas<br />
John Armleder, Oliver Mosset, <strong>Haim</strong> <strong>Steinbach</strong>, Nicole Klagsbrun, <strong>New</strong> <strong>York</strong><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 />
Peep, Glimpses of the Last 4 Decades from the Kerry Stokes Collection, TarraWarra Museum of Art, Healesville, Victoria<br />
& 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 Gallery; curated by Damien Hirst<br />
Re-Designed, Lia Rumma, Milano<br />
The Hands of Art, S.M.A.K. Stedelijk Museum voor Actuele Kunst, Gent, Belgium (cat.)<br />
The Return of Religion and Other Myths: The Art of Iconoclasm, basis voor actuele kunst, Utrecht, Netherlands;<br />
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 />
Totally Rad: <strong>New</strong> <strong>York</strong> in the 80s, Paul Kasmin Gallery; <strong>New</strong> <strong>York</strong><br />
2009 Collectors XXIV, Museum of Contemporary Art San Diego, La Jolla; curated by Stephanie 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 Gallery, Tel Aviv; curated by Dvir<br />
Plastic Culture, Harris Museum and Art Gallery, Market Square, Preston; curated by Richard Smith<br />
N'importe quoi, Museum of Contemproary Art, Lyon; curated by Olivier Vadrot and Vincent Pécoil
2010 Bambaataa, aliceday, Brussels; curated by Der Kommissare François Curlet<br />
Courant d'art au rayon de la quincaillerie paresseuse, L'observatoire du BVH, Paris<br />
Christmas Show, Galerie Laurent Godin, Paris<br />
Double Up Double Up, Quint Contemporary Art, San Diego<br />
Sculpture, Waddington Galleries, LondonSelections from the MCA Collection, Museum of Contempoary Art<br />
Chicago; co-organized by Julie Rodrigues Widhom, Pamela Alper, and Diana Nawi<br />
SPACE, MAXXI – Museo nazionale delle arti del XXI secoio, Rome; curated by Bartolomeo Pietromarchi and<br />
Gabi Scardi (cat.)<br />
2011 Coup Double, Frac Aquitaine, Bordeux; organized by Claire Jacquet<br />
If You Lived Here, You’d Be Home By Now, CCS Bard Hessel Museum of Art, Annandale-onHudson, <strong>New</strong> <strong>York</strong><br />
Ileana Sonnabend: Un Ritratto Italiano, Peggy Guggenheim Collection, Venice; curated by Antonio Homem & Philip<br />
Rylands (cat.)<br />
L’Invention de l’œuvre. Rodin et les ambassadeurs, Musée Rodin à Paris; (cat.)<br />
Mike Kelley, David Lachapelle, Sherrie Levine, Andreas Slominski, <strong>Haim</strong> Stienbach, Jablonka Galerie, Berlin<br />
Noli me tangere, The Collection Vanmoerkerke, Belgium; curated by Jan Hoet<br />
Postmodernism: Style and Subversion, Victoria and Albert Museum, London<br />
Selections from the Hammer Contemporary Collection, Hammer Museum, Los Angeles, organized by Ali Subotnick<br />
and Corrina Peipon<br />
Shelf Ramp Wedge Bridge/1, Fitzroy Gallery, <strong>New</strong> <strong>York</strong>,; curated by Jeffrey Uslip<br />
Things are Queer – Highlights from the UniCredit Collection, Marta Herford, Herford (cat.)<br />
The Shape We’re In, Zabludowicz Collection, London<br />
Volume!, Mesue d’Art Contempoani de Barcelona, Barcelona<br />
you, your sun and shadow, Anderson Gallery, Virginia Commonwealth University, Virginia; curated by Michael<br />
Jones McKean<br />
SELECTED ARTICLES AND REVIEWS<br />
1979 Larson, Kay; “Briefly Noted,” The Village Voice, December 24<br />
Zimmer, William; “Installation Feed,” Soho Weekly <strong>New</strong>s, December 13<br />
1981 Bonetti, Charles; “Design for a Yogurt Bar at BBC,” The Berkshire Eagle (Pittsfield, MA), March 7<br />
<strong>Steinbach</strong>, <strong>Haim</strong> (project), Observations: Art and Culture, No. 4, Fall<br />
1982 Levin, Kim; “<strong>Haim</strong> <strong>Steinbach</strong>,” The Village Voice, April 27<br />
Klein, Michael;“<strong>Haim</strong> <strong>Steinbach</strong>,” Arts Magazine, September, p. 7<br />
Smith, Roberta;“Some Things Old, Some Things <strong>New</strong>,” The Village Voice, April 27<br />
Sozanski, Edward; “Visual Feast Satisfies Avant Garde Appetite,” The Providence Sun Journal, January 24<br />
1984 Wallach, Alan; “CAPS Sculptors,” Arts, December<br />
19<strong>85</strong> Indiana, Gary; “Charm of Tradition,” The Village Voice, October 22<br />
Levin, Kim; “Season’s Greetings,” The Village Voice, December 3l<br />
Levin, Kim; “Voice Choices,” The Village Voice, Kim Levin, October 22<br />
Miller, John; “Producer as Consumer,” East Village Eye, November.<br />
1986 Artner, Alan G.; “3 Sculptors Achieve Unsettling Transformations of Everyday Objects,” The Chicago Tribune, May<br />
ll<br />
Bob, Paul; “Postmodern Pop,” Esquire, September, p. 252<br />
Cameron, Dan; “Pretty as a Product,” Arts, May, pp. 22-25<br />
Collings, Matthew, “Mythologies: Art and the Market, ” Artscribe, April/May, p. 22-26<br />
Collins, Tricia and Milazzo, Richard; “Tropical Codes,” Kunstforum International, Spring, Bd. 83<br />
Cone, Michele; “Ready-Mades on the Couch,” Artscribe, June/July<br />
Heartney, Eleanor; “Neo-Geo Storms <strong>New</strong> <strong>York</strong>,” <strong>New</strong> Art Examiner<br />
Indiana, Gary; “Formal Wares,” The Village Voice, March 25<br />
Indiana, Gary; “Castle to Castle,” The Village Voice, August l9<br />
Jones, Alan, “Paravision: An Interview with Tricia Collins and Richard Milazzo,,” Galleries Magazine,<br />
August/September<br />
Jones, Ronald; “Damaged Goods,” Flash Art, Summer.<br />
Knight, Christopher; “The 80’s Become the Era of Memorex Art,” LA Times Examiner, June l5<br />
Knight, Christopher; “The L.A. Invasion of ‘It’,” Los Angeles Herald Examiner, August l0<br />
Levin, Kim; “Shop Art,” The Village Voice, July 22<br />
McKenna, Kristine; (review), Los Angeles Times, June l3<br />
Muchnic, Suzanne; “Commodity-Culture Art Rides Again,” Los Angeles Times, July 26<br />
Raynor, Vivien; “Art: Objects are Subject of Damaged Goods,” The <strong>New</strong> <strong>York</strong> Times, July l8<br />
Smith, Roberta, “Art: ‘Advent of Modernism’ at <strong>Brooklyn</strong> Museum,” The <strong>New</strong> <strong>York</strong> Times, December 26<br />
Smith, Roberta; “Where to See the <strong>New</strong>est of the <strong>New</strong> American Art,” The <strong>New</strong> <strong>York</strong> Times, May l<br />
Smith, Roberta; “<strong>Haim</strong> <strong>Steinbach</strong> at Cable,” Art in America, February, p.128
Sozanski, Edward; “Infotainment: The Anti-Art of the Television Age,” Philadelphia Inquirer, Jan. l9<br />
<strong>Steinbach</strong>, <strong>Haim</strong>; “I give you the sweetest taboo,” photomontage project, Arts, March, pp. 24-25<br />
Nagy, Peter (moderator), “From Criticism to Complicity,” ('Flash Art Panel'), Flash Art, Summer, p. 46-49<br />
_____________, “Deus ex McLuhan,” (review of “The Brokerage of Desire"), L.A. Weekly, August l5-21<br />
_____________, “Die Kunst,” Skyline, October<br />
1987 Beaumont, Mary Rose; “One Hand Clapping,” Arts Review (London), vol. XXXIX, No. l6/l7, August<br />
Braff, Phyllis; “Language Becomes the Medium of the Message,” The <strong>New</strong> <strong>York</strong> Times, March l.<br />
Cameron, Dan; “Art and its Double,” Flash Art (special supplement), May, pp. 57-72<br />
Cameron, Dan; “Image and Quotation,” Artics (Barcelona), #16<br />
Celant, Germano; “<strong>Haim</strong> <strong>Steinbach</strong>’s Wild, Wild, West,” Artforum, December, pp. 75-79<br />
Collings, Matthew; “Posthumous Meaning,” Artscribe, Sept/Oct.<br />
Collins and Milazzo; “Radical Consumption and the <strong>New</strong> Poverty,” <strong>New</strong> Observations, No. 51<br />
Collins, Patricia; Milazzo, Richard; “Benny ‘Kid’ Paret,” <strong>New</strong> Observations, March.<br />
Cooke, Lynne; “Object Lessons,” Artscribe, Sept/Oct, p. 55-60<br />
Glueck, Grace; “Tastemakers,” The <strong>New</strong> <strong>York</strong> Times Magazine Aug. 30<br />
Graham-Dixon, Andrew; “Neo-Geo,” Vogue (London), Sept.<br />
Greenfield-Sanders, Timothy, “Sculptors,” Artfinder, Spring, p. 113<br />
<strong>Haim</strong> <strong>Steinbach</strong>, “Untitled” (text and photograph, l987), File Magazine, #28, pp. 4-65<br />
Hart, Claudia; “Reconstruct: John Gibson,” Artscribe, Sept.-Oct.<br />
Heartney, Eleanor; “Simulationism,” ARTnews, January<br />
Izzo, Arcangelo; “Scenografie per i turisti della vita,” il Gioranale di Napoli, December<br />
Jones, Ronald; “<strong>Haim</strong> <strong>Steinbach</strong> at Sonnabend,” Artscribe, Sept/Oct.<br />
Larson, Kay; “Material Boys,” <strong>New</strong> <strong>York</strong> Magazine, May ll<br />
Liebman, Lisa; “M.B.A. Abstractionism,” Flash Art, March, pp. 86-89<br />
Linker, Kate; “Sherrie Levine/<strong>Haim</strong> <strong>Steinbach</strong> at Jay Gorney Modern Art,” Artforum, March, p. 123-124<br />
Lipson, Karen; “A Few Words on Art,” <strong>New</strong>sday, February 20<br />
Manor, Dalia; "<strong>New</strong> <strong>York</strong> Now, The <strong>New</strong> Movement,” The Jerusalem Voice, February<br />
Miller, John; “Avant-Garde in the Eighties: Los Angeles County Museum of Art,” Artscribe, Summer<br />
Miller, John; “In the Beginning There Was Formica,” Artscribe, March/April<br />
Miller, John; “<strong>Haim</strong> <strong>Steinbach</strong> at Rhona Hoffman,” Artscribe, Sept/Oct.<br />
Morgan, Stuart; “School of Athens,” Artscribe, March/April<br />
Nickas, Robert; Power, Kevin; “Art and Its Double,” Flash Art (special supplement), March<br />
Nickas, Robert; “Shopping with <strong>Haim</strong> <strong>Steinbach</strong>,” Flash Art, April, pp. 70-72<br />
Olander, William; “Made in U.S.A.” Beaux Arts Magazine, May.<br />
Ronnen, Meir; “What You See is What You Get,” The Jerusalem Post, January 30.<br />
Salvioni, Daniella; “<strong>Haim</strong> <strong>Steinbach</strong> at Sonnabend,” Flash Art, October, p. 105<br />
Shaul, Moshe Ben; “<strong>New</strong> <strong>York</strong>, <strong>New</strong> <strong>York</strong>,” Maariv, February 23.<br />
Smith, Dinita; “Art Fever,” <strong>New</strong> <strong>York</strong> Magazine, April 20.<br />
Smith, Roberta; “Where to See the <strong>New</strong>est of the <strong>New</strong> American Art,” The <strong>New</strong> <strong>York</strong> Times, May l<br />
<strong>Steinbach</strong>, <strong>Haim</strong>; “Joy of Tapping Our Feet”, Parkett, #14<br />
Tremarco, Angelo; “<strong>Haim</strong> <strong>Steinbach</strong> nella gelleria Rumma: oggetti banali in bella mostra, Dopo il moderno resta il<br />
consumo,” Il Mattino, Naples, # 96, December<br />
Zimmer, William; “Summer Splendors Outside the City,” The <strong>New</strong> <strong>York</strong> Times, August l4.<br />
_____________, “In/Out, <strong>New</strong> <strong>York</strong> Now,” Jerusalem Voice, February 23.<br />
_____________, “Art Stop - Manhattan Doble” Elle (Spain).<br />
_____________, “Comedy of Mannerism,” <strong>New</strong> <strong>York</strong> Magazine, August 24.<br />
_____________, “El Arte neoyorquino es un art de la apropriacion seguin Dan Cameron,” El Pais, Madrid,<br />
February 6<br />
_____________, “The Saatchi Factor,” ARTnews, January l987.<br />
1988 Avni, Beni, “<strong>Haim</strong> is No Longer Ours: Tel Aviv-<strong>New</strong> <strong>York</strong>, <strong>New</strong> <strong>York</strong>-<strong>New</strong> <strong>York</strong>”, Monitin, Israel, January, #ll2,<br />
pp. 36-39<br />
Baldewyns, Claire; L’Evenement (Paris), Dec. l3.<br />
Beuth, Reinhard; “Gartenschlauch, Scherzartikel und Staubsauger,” Die Welt, # 52, March<br />
Blase, Christoph; “Schlaf und Stress der Vernunf,” Wolkenkratzer Art Journal, p. 54- 55, #3, May-June<br />
Bochner, Mel; “Ileana Sonnabend,” Galleries Magazine, June/July.<br />
Bode, Peter M.; “Kunst mit vier Staubsaugern,” Abendzeitung, 5./6., March.<br />
Bruderlin, Marcus; “Konsum-Seelen-Strip,” Kleine Zeitung, March 1988<br />
Christov-Bakargiev, Carolyn; “Spotlight: <strong>Haim</strong> <strong>Steinbach</strong> -Staging the Illusion of Fake,” Flash Art, March/April,<br />
p.104.<br />
Comi, Enrico R.; “Ileana Sonnabend, Great Lady of Art,” Spazio Humano, #2/1988, pp. 6-7, 22.<br />
Cotter, Holland; “<strong>Haim</strong> <strong>Steinbach</strong>: Shelf Life,” Art in America, May, p. 156-163<br />
Czoppan, Gabi; “Gallerie, <strong>New</strong> <strong>York</strong> Im Auge,” Munchner Stadtzeitung, June.<br />
Czoppan, Gabi; “Fussballelf und Eishockeypuck, Das Skulpturenprojekt Durr,” Munchner Stadtzeitung, p. 152,<br />
May 1988.
Dallay, Willy; “Le jeu de miroirs de <strong>Steinbach</strong>,” Sud-Ouest, Dec. l0, l988.<br />
Dallay, Willy; “<strong>Steinbach</strong>, temoin de notre temps,” Sud-Ouest, December 9.<br />
de Saint-Do, Valerie; “Les Objets du Derisoire,” Le Courrier Francais, December 30<br />
Deitch, Jeffrey; “Geometrie Culturali,” Flash Art (Italy), March - April 1988, pgs. 50-52.<br />
Dittmar, Peter; “Goldfish mit Psychose,” Welt, pg. 19, February.<br />
Dreher, Thomas; “<strong>New</strong> <strong>York</strong> in View, Munchen, Kunstverein,” Artefactum, September/October.<br />
Espagnet, Patrick; “Derisoire derision de Panchounette,” Sud-Ouest, Dec. l0, l988.<br />
Faust, Wolfgang Max; “Nove <strong>New</strong> <strong>York</strong> <strong>New</strong>,” Wolkenkratzer, no. 1, January-February, pp. 20-35.<br />
Graw, Isabel; “The Sleep of Reason,” Flash Art #141; pg. 139-140, Jan-Feb.<br />
Greenspan, Stuart; “Visual Obsessions: Am I Good Enough to Own a Painting?,” Avenue, February.<br />
Hegewisch, Katharina; , “Gefuhl gegen Kalkul,” Frankfurter Allgemeine Zeitung # 55, March<br />
Hess, Elizabeth, “Captives of Industry,” The Village Voice 15 November.<br />
Jones, Ronald; “Hover Culture,,” Artscribe Summer, pp. 46-51.<br />
Joselit, David; “Investigating the Ordinary,” Art in America, May, pp. 149-55<br />
Karcher, Eva; “Auf dem Vormarsch,” Munchner Theaterzeitung, March.<br />
Koniger, Maribel; “Nippes aus Stahl im Kaufhaus ‘Kunst’,” Mittelbayerische Zeitung Regensburg, July.<br />
Kuspit, Donald; “The Modern Fetish,” Artforum, October.<br />
Langsfeld, Wolfgang; “Ruckwartsdrehende Uhren,” Suddeutsche Zeitung, # 56, Aug. 88.<br />
Leigh, Christian; “<strong>Haim</strong> <strong>Steinbach</strong> at Jay Gorney Modern Art,” Artforum, October., pp. 143-144<br />
Miller, John; “The Consumption of Everyday Life,” Artscribe,January/February.<br />
Morgan, Robert; “The Spectrum of Object-Representation,” Arts, October., p. 78-80<br />
Morgan, Stuart; “School of Athens,” Artscribe, March/April.<br />
Morgan, Robert; “<strong>Haim</strong> <strong>Steinbach</strong> at Jay Gorney Modern Art,” Flash Art, October, p. 128-129<br />
Nemeczek, Alfred; “Geduldig den Augenaufschlag abwarten,” Art, pg. 30, # 4, April.<br />
Oliva, Achille Bonito; “Neo-America,” Flash Art, January/February.<br />
Pelenc, Arielle; “la consommation de l’art ou l’art de la consommation,” Art Press (Paris), September.<br />
Prestele, Charly; “Die kalte Ironie der Verfuhrung,” Mannheimer Morgen, March.<br />
Schmitz, Rudolf; “Kunst in ‘Verpuppungszustand’” Handelsblatt, # 62, March.<br />
Schwartze, Dirk; “'Schlaf der Vernunf’ im Kasseler Museum Fridericianum, Zwischen den Stilen,” HNA Kultur,<br />
March.<br />
Schwarze, Dirk; “'Schlaf der Vernunf’ im Museum Fridericianum in Kassel, Bitte nicht storen?,” HNA Kultur,<br />
February.<br />
Schwarze, Dirk; “Das Kasseler Museum Fridericianum als Kunsthalle, Eine zu stille Ausstellung,” HNA Kultur,<br />
April.<br />
Smith, Roberta;“A Wide Ranging Spread of Artists and Installations,” The <strong>New</strong> <strong>York</strong> Times, Nov. 15;(review of<br />
“The <strong>New</strong> Urban Landscape")<br />
Smith, Roberta; “<strong>Haim</strong> <strong>Steinbach</strong> at Jay Gorney Modern Art,” The <strong>New</strong> <strong>York</strong> Times, June 5.<br />
Perretta, Gabrielle; “<strong>Haim</strong> <strong>Steinbach</strong>,” Juliet Art Magazine, June 1988, pg. 14, 32<br />
<strong>Steinbach</strong>, <strong>Haim</strong>; Semiotext, U.S.A. #13, project.<br />
Taylor, Paul; “Object Lessons,” House and Garden, October.<br />
Taylor, John Russell; “The <strong>New</strong> <strong>New</strong> <strong>York</strong>ers and the Avant Avant-Garde,” Art and Design, vol. 4, No. 3/4, pp.<br />
41-45.<br />
Tazzi, Pier-Luigi; “<strong>Haim</strong> <strong>Steinbach</strong>"; Galeries, December/January, pp. 88-9l.<br />
van der Ploeg, Kees; “De opgegraven toekomst, Nieuwe kunst uit <strong>New</strong> <strong>York</strong>,” Akt over Kunst 39, April.<br />
Verzotti, Giorgio,“The Object in the Gallery,” Lei Magazine, October<br />
Wehlte-Hoschele, Martina, “Die Moderne traumt von sich ‘Schlaf Vernunf’ Gegenwartskunst in Kasseler<br />
Museum Fridericianum,” Frankfurter Allgemeine, #86, April.<br />
_____________, “Wo Stehen Die Kunstler l988?” Art Das Kunstmagazin, February.<br />
_____________, “Eine neue Volkskunst?,” Suddeutsche Zeitung, #76, March/April.<br />
_____________,“<strong>New</strong> <strong>York</strong>er in Munchen,” Muncher Merkur, vol. 27./28., February.<br />
_____________,“Trend, Warhol Entlasst Seine Kinder,” lui, April 1988.<br />
_____________,“Kunst, Schamlos Schon,” Der Spiegel, #12, 1988<br />
_____________,“Archeologue de la Consommation,” Elle (Paris), Dec. 26.<br />
_____________, Artists Talk, Flash Art <strong>New</strong>s, Supplement #l43, November/December.<br />
1989 Arnaudet, Didier, “<strong>Haim</strong> <strong>Steinbach</strong>,” <strong>New</strong> Art (Paris), February-March.<br />
Arnaudet, Didier; “<strong>Haim</strong> <strong>Steinbach</strong> de l’objet manufacture a l’objet de collection,” Gironde Magazine, January.<br />
Arnaudet, Didier; “ <strong>Haim</strong> <strong>Steinbach</strong>, CAPC, Bordeaux”, Contemporanea; Vol. II, No. 2, March/April.<br />
Avgikos, Jan; “The Binational,” Artscribe, Summer 1989.<br />
Bosetti, Petra; “Hamburg: D & S; Asthetik aus der Welt der Waren,” Art, pp. 138-139, October.<br />
Clearwater, Bonnie; “ Consensus ‘88,” Art Issues, No. 3, April.<br />
Compton, Michael; “Pop Art II - Jeff Koons and Co,” Art and Design Profile l6: <strong>New</strong> <strong>York</strong>, <strong>New</strong> Art<br />
Cornand, Brigitte; “Inexpressionniste ou Deconstructionniste,” Actuel, no. ll8, April, pp. l44-l53.<br />
Curtis, Cathy; (review of exhibition at Margo Leavin), Los Angeles Times, June 9.<br />
Fernandez, Horacio; “<strong>Haim</strong> <strong>Steinbach</strong>, El Languaje de los Objetos,” El Europeo (Madrid), February.
Gaver, Eleanor; “The Big Sleep,” Art and Antiques, Sept. l989, pp. 65-68.<br />
Gilbert-Rolfe, Jeremy; “The Price of Goodness,” Artscribe, November/December, l989.<br />
Graw, Isabelle; “Wittgenstein, the Game of the Unsayable,” Flash Art, November/December.<br />
Jeannot, Francois; “<strong>Haim</strong> <strong>Steinbach</strong> - Galerie Yvon Lambert,” <strong>New</strong> Art International, May.<br />
Kuspit, Donald; “Breakfast of Duchampians,” Contemporanea, May l989, pp. 68-73.<br />
Leigh, Christian; “Art on the Verge of a Nervous Breakdown"; Contemporanea, vol. II, No. 1, Jan./Feb.<br />
Leigh, Christian, and Zaya, Octavio, “The silent Baroque” Balcon, No. 5/6,pp. 46-62.<br />
Manor, Dalia; “<strong>Haim</strong> <strong>Steinbach</strong>: Still Life"; Kav (Israel), January.<br />
Marter, Joan; “The World Financial Center: ‘The <strong>New</strong> Urban Landscape,’” Arts Magazine, March.<br />
McKenna, Kristine; “In the Footsteps of Warhol,” L.A. Times Calendar, May 7.<br />
Moreau, Catherine; “<strong>Haim</strong> <strong>Steinbach</strong>"; Beaux Arts, p. 92.<br />
Pasini, Francesca, “`Inespressionisti’ ma non lo dimonstrano,” Il Secolo XIX, Giovedi Sep. 14, pg.7<br />
Pelenc, Arielle; “ <strong>Haim</strong> <strong>Steinbach</strong>, CAPC Musee d’art contemporain,” Art Press, no. l33, February, p. 62.<br />
Perrault, John; “Through a Glass Darkly"; Artforum, March.<br />
Plagens, Peter; “Under Western Eyes,” Art in America, January.<br />
Rubin, Jane; “<strong>Haim</strong> <strong>Steinbach</strong> and Dennis Adams, Alan Belcher, Jennifer Bolande,” Art Issues, No. 6, September,<br />
p. 23.<br />
Schwartzmann, Allan; “Corporate Trophies,” Art in America, February.<br />
Siegel, Jeanne; “Suits, Suitcases and Other Look-Alikes,” Arts Magazine, April, pp. 70-75<br />
Smith, Roberta; “ Natura/Naturata (An Argument for Still Life),” The <strong>New</strong> <strong>York</strong> Times, March l0.<br />
Soutif, Daniel; “<strong>Steinbach</strong>: la cle Duchamp,” Liberation (Paris), February 8.<br />
Soutif, Daniel; “Found and Lost, On the Object in Art,” Artforum, October, l989.<br />
<strong>Steinbach</strong>, <strong>Haim</strong>; “get out of the dark” (project), Flash Art, Russian Edition, No. l, l989, pp.70-7l.<br />
<strong>Steinbach</strong>, <strong>Haim</strong>; “fresh once upon a time,” De Rijksdakademie (Amsterdam), September, p. ll.<br />
Taylor, Paul; “<strong>Haim</strong> <strong>Steinbach</strong>: An Easygoing Aesthetic That Appeals to the Flaneur in Many of Us,” Flash Art,<br />
May/June, No. l46, pp. l33-l34.<br />
Ziegler, Ulf Erdmann; “Nach Ganz Fest Kommt Ganz Lose”, Taz, Nov. 15, p. 13.<br />
_____________,“Bordeaux invite <strong>Steinbach</strong>. . .,” Evasions (Paris), Winter, l988-l989.<br />
_____________, “objet de consommation dans l’art, C.A.P.C., <strong>Haim</strong> <strong>Steinbach</strong>,” Bordeaux Mensuel , January<br />
_____________, Gai Pied (Paris), January l0.<br />
_____________, “Les etageres de <strong>Steinbach</strong>,” Glamour (Paris), February.<br />
_____________, “Exhibition Update: Hybrid Neutral,” I.C.I. <strong>New</strong>sletter, Spring/Summer, Vol. 4, #2.<br />
_____________, “<strong>Haim</strong> <strong>Steinbach</strong>: Works,” Spazio Umano / Human Space, No. 2, pp. 76-79.<br />
_____________, Spazio Umano / Human Space, No. 4<br />
(interview), Bijutsu Techo (Japan), Vol. 4l, No. 609, May, pp. l3 - 3l.<br />
1990 Cameron, Dan, “<strong>Haim</strong> <strong>Steinbach</strong>,”Art Today (videotape), Arts Video <strong>New</strong> Service, N.Y., vol. II, No. 5, May<br />
Collins, Tricia, and Milazzo, Richard; “McDonald’s in Moscow and the Shadow of Batman’s Cape,” Tema Celeste,<br />
April-June, No. 25, pp. 35-37.<br />
Curtis, Cathy; “There’s Art in Arrangement of Everyday Objects,” L.A. Times Calendar, April l5<br />
Curtis, Cathy; “Three Sculptors Discuss the Art of OBJECTives,” Los Angeles Times (Orange County Edition), Apr.<br />
l0<br />
Gutterman, Scott; Art International, Autumn p. 58-59<br />
Johnson, Ken, “<strong>Haim</strong> <strong>Steinbach</strong>’, Art in America, Oct. pp. 202-203,<br />
Levin, Kim; “<strong>Haim</strong> <strong>Steinbach</strong>: signes de progres/objets contradictoires,” Artstudio, Winter.<br />
Levin, Kim; “Choices,” Village Voice, May l5.<br />
Marriner, Robin; “Signs of the Times: Sculpture as Non-Specific Objects: The work of Koons and <strong>Steinbach</strong>,” Art<br />
Monthly, July-August<br />
Muller, Hans-Jurgen; “We Can Put You on the Waiting List,” Kunstforum, Nov.-Dec.<br />
Prest, Veronique; “Carnet de Bale,” Beaux Arts, p. l74, June<br />
Rimanelli, David;“Desires: Artists Buys his Work at Stores”, Interview Magazine, April, vol. XX, no. 4, p. 62<br />
Senaldi, Marco; “The Joker’s Apology and Disclaimer,” Flash Art, March-April, p. 129<br />
<strong>Steinbach</strong>, <strong>Haim</strong>; “once,” slogan project, Artforum, March<br />
<strong>Steinbach</strong>, <strong>Haim</strong>; (project and interview), Pataphysics (Melbourne, Australia), G/H<br />
Taylor, Paul, “SOHO’s Avant-Guardian,” Connoisseur, vol.221, no.956, September, pp.16-22<br />
_____________, “Che cosa vuole diventare il Guggenheim,” Il Giornale Dell’Arte, No. 79, June, l990, p. 42.<br />
_____________, “Aufstand gegen den guten Geschmack,” Art, September l990, p. 37.<br />
1991 Albig, Jorg-Uwe, “Kleiner Beitrag zu einem Traum,” Stern, l7/9l (Hamburg), Apr.l8, pp. 232-233.<br />
Arbasino, Alberto; “Metropolis il tempio dei mercanti,” Il Venerdi di Repubblica No. l77 (Rome), June 28,<br />
p. l06<br />
Brown, Azby; “Reproduced Authentic,” Artforum, Feb., p. 141<br />
Camard, Florette; “Jean Pierre Raynaud and <strong>Haim</strong> <strong>Steinbach</strong>,” Galleries Magazine, No.42, April-May, pp.94-103.<br />
Collings, Mathew, Art reviews, City Limits (London), Sep. 19<br />
Craddock, Sacha, “Bear Essentials,” The Guardian, Sep. 19<br />
Dannatt, Adrian; “Vertigo,” Flash Art, January.
Dreher, Thomas; “<strong>Haim</strong> <strong>Steinbach</strong>, The Exotic of the Familiar,” Artefactum, no. 37 Feb- Mar., pp. 24-29.<br />
Feaver, William, “Hellbent descent into the funfair,” Observer, Sep.15<br />
Hahn, Otto; review of exhibition at Yvon Lambert, L’Express, no. 2077, Apr. 25 - May l, p, 43.<br />
Hall, Charles, “The Legacy of Pop,” Arts Review (London), Oct.4, pp.492-493<br />
Hayt-Atkins, Elizabeth; “It’s Art by Fax and Phone,” Elle Decor, Oct., No. l8, pp. 42-44.<br />
Hicks, Alistair; “Metropolis - or Necropolis?,” Art & Auction, May.<br />
Kent, Sarah, “Objects for the Ideal Home,” Time Out, No.1101 (London), Sep.25-Oct.2<br />
Koskina, Katerina; “Metropolis: Setting the Stage?,” Arti, Art Today, vol. 5, May/Jun., pp. ll5-l27.<br />
Larson, Kay, “Getting Physical,” <strong>New</strong> <strong>York</strong> Magazine, Nov.<br />
Legros, Herve; “<strong>Haim</strong> <strong>Steinbach</strong>,” Beaux Arts Magazine, no. 90, May, pp. 96-97<br />
Levin, Kim, “Voice Choices,” The Village Voice, Nov.l2<br />
Lingner, Michael, “<strong>Haim</strong> <strong>Steinbach</strong>/Strategien Asthetischen Handelns II: Imaginarer Gebrauch,” Kunst +<br />
Unterricht, June, pp. l4-l5<br />
Messler, Norbert; “Berlin: Metropolis,” Artforum, vol. XXIX, No. l0, Summer<br />
Schilling, Antigone; “Rumors: Japan,” Vogue Hommes International Mode, vol. #13, Spring.<br />
Schneider, Greg, “Pondering the Past,” Artweek, Sep. 5, pg.11<br />
Smith, Roberta, “<strong>Haim</strong> <strong>Steinbach</strong>,” The <strong>New</strong> <strong>York</strong> Times, Nov. 8<br />
Steinlechner, Carin, “Billige Ziernaht an der Lederhose,” Munchner Merkur, No.2<strong>85</strong>, Mittwoch, Dec. 11, p.9<br />
Taylor, Paul, “Soho’s Avant Guardian,” Connoisseur, Vol 221, no. 956 Sep. pp. 16-22<br />
Van Mulders, Wim; “Knight en <strong>Steinbach</strong> neefjes van Duchamp?,” Kunst & Cultuur, Apr., pp. 40-43.<br />
Zellien, Werner; “Metropolis/Fotodokumentation,” Kunstforum, #ll3, May/Jun.<br />
_____________, “Goings on About Town,” The <strong>New</strong> <strong>York</strong>er, Nov.l<br />
_____________ (interview), Bijutsu Techo, Vol. 43, No. 637, May.<br />
_____________, “Art in the Age of Fax,” Asahi Evening <strong>New</strong>s,<br />
_____________, “Reproduced Authentic,” Switch (Japan), Feb.<br />
_____________, “Il cambio d’identita e ALTROVE” Il Tirreno,cronaca di Prato (Italy), Oct. 10<br />
_____________, “Eat your heart out, Andy,” <strong>New</strong> Statesmen & Society (London) Sep. pp. 29-30<br />
_____________, “Pop Art Today,” The <strong>New</strong>s Line (London), Sep.21, pg.10<br />
1992 Adcock, Craig, “After Duchamp,” Tema Celeste Summer 1992, No. 36, pp. 50-53.<br />
Aillaud, Charlotte, “Shopping in Paris with Francois Catroux,” Architectural Digest, May, pp. 62-69<br />
Batchelor, David; “Almost Everything is Available”, Frieze, October<br />
Braet, Jan, “Ronden Rond de Toren,” Knack (magazine, Belgium), May.<br />
Brock, Hovery, “<strong>Haim</strong> <strong>Steinbach</strong>: Jay Gorney,” ARTnews, Vol. 91, No.1, Jan., p. l26.<br />
Celant, Germano, “Unexpressionism, Art Beyond the Contemporary,” Art and Design, <strong>New</strong> Art International , 1990,<br />
art repro. pp.31-41<br />
Dank, Ralf, ed.; “>>documenta als Motor
Cosemans, Catherine, “Conversation with <strong>Haim</strong> <strong>Steinbach</strong>”, Kunst & Museum Journaal, Vol. 4, Number 4, pp. 35-<br />
41.<br />
Cotter, Holland, “<strong>Haim</strong> <strong>Steinbach</strong>: Sonnabend Gallery”, The <strong>New</strong> <strong>York</strong> Times, June 25.<br />
Cotter, Holland, “Galleries in Review:‘<strong>Haim</strong> <strong>Steinbach</strong>: Sonnabend Gallery’” Critics Choice, July 12, Vol. 1, No. 20<br />
Decter, Joshua,; “<strong>Haim</strong> <strong>Steinbach</strong>: Sonnabend”, Artforum, October , p. 88.<br />
Decter, Joshua, “<strong>Haim</strong> <strong>Steinbach</strong>,” Journal of Contemporary Art, Winter, p. 108-117<br />
Gimelson, Deborah; “Painting by Numbers,” Mirabella, February, No. 45, pp.40-43<br />
Hettig, Frank Alexander; “no rocks allowed.” Kunstforum International, No. 121 pg. 452<br />
Kravagna, Christian; “Das Fremde - der Gast,” Kunstforum International, No. 124, p. 398-9<br />
Levin, Kim, “<strong>Haim</strong> <strong>Steinbach</strong> / Voice Listings”, TheVillage Voice, June 1, p. 72<br />
Madlener, Elisabeth and Kurt Kladler, “Das Fremde—Der Gast”, Kulturbericht, October 10<br />
Marucci, Luciano, “Incontro alla XLV Biennale D’arte di Vienza , L’obiettivo di Di Paolo é<br />
all’opera” Corriere Adriatico, June 27<br />
Schenk-Sorge, Jutta, “Osmosis: Eine Gemeinschaftsarbeit von Ettore Spallettie und <strong>Haim</strong> <strong>Steinbach</strong>”, Kunstforum<br />
International, Bd.123, p. 377<br />
Schwaner, Birgit, “Wer nicht dazugehört... ‘Das Fremde - Der Gast’: durch eine Austellung im Offenes<br />
Kulturhauus Linz,” Wiener Zeitung, October 1<br />
Stocklinger, Andreas, “Die moralische Rute im Fenster”, Der Standard, September 28<br />
Tager, Alisa; “<strong>Haim</strong> <strong>Steinbach</strong>: Sonnabend”,ARTnews, October, p. 160<br />
Träger, Wolfgang; “Biennale Venedig ‘93,” Kunstforum International, No. 124, art repro. p. 316<br />
Thor, Rainer, “Gestalt geworden Spekulationen: Ausstellung im Offenen Kulturhaus, ‘Das Fremde–Der Gast’”,<br />
Kronenzeiktung, September 21<br />
_____________ (“Pleasure from Quotation”), Bijutsu Techo, March (reproduction of uncolor becomes alter ego)<br />
_____________, “Goings on About Town: <strong>Haim</strong> <strong>Steinbach</strong>”, The <strong>New</strong> <strong>York</strong>er, June<br />
1994 _____________, “Hundreds of My Favorite Things,” Drilt Collector’s <strong>New</strong>sletter, November<br />
1994, p. 182<br />
Schöllhammer, Georg, “Über die Leere zwischen den Dingen”, Der Standard, March 22, pg.11<br />
_______________, “Elefantenfüße; Die Sammlung stört nicht:‘Private mix’ in der Galerie eigen + art”, Der<br />
Tagesspiegel, May 8,<br />
Photograph by L. Marucci, Juliet, No. 66, February-March (portrait of <strong>Haim</strong> <strong>Steinbach</strong>)<br />
______________, Meme si c’est la nuit, capcMusee d’art contemporain de Bordeaux, November 1994, p. 15<br />
1995 Alfonsi, Maria Vittoria, “La moda italiana s’esalta sotto le luci del cinema,” Bresciaoggi, October 5<br />
Bayliss, Sarah, “Construction in Process,” World Art, vol. 3, p.88, illus p 86<br />
Curto, Guido, “Recensioni; <strong>Haim</strong> <strong>Steinbach</strong>, Castello di Rivoli,” Flash Art Italia, no. 195, Dec. ‘95 - Jan ‘96, art<br />
repro., p. 116<br />
Cuvelier, Pascaline “Canape, table, frigo meublent l’art moderne,” Liberation, May 15, art repro. p. 28<br />
D’Arrigo, Laura, “In due al Castello,” Luna Nuova, Oct. 31, art repro.<br />
Di Genova, Arianna, “Mi metto in mensola,” L’Espresso, No. 43, October 29, p. 132<br />
Drolet, Owen, “Construction in Process V,” zingmagazine, Autumn, art repro.<br />
Gandini, Manuela, “Gli oggetti cosi alieni del caos quotiditiano firmati da <strong>Haim</strong> <strong>Steinbach</strong>,” Il Giorno, December<br />
16<br />
Halle, Howard, “<strong>Haim</strong> <strong>Steinbach</strong>”, Grand <strong>Street</strong>, vol. 53, art repro. pp. 249-256<br />
Jones, Bill “Michael Snow: Memories of Overdevelopment,” Trans>art.culture.media, vol. 1, no.1, p. 73<br />
Karmel, Pepe, “Art in Review: <strong>Haim</strong> <strong>Steinbach</strong>,” The <strong>New</strong> <strong>York</strong> Times, March 3<br />
Levi, Paolo, “Al supermarket di <strong>Haim</strong> <strong>Steinbach</strong>,” La Repubblica, October 26<br />
Levin, Kim, “Galleries: Eadweard Muybridge, Michael Snow, <strong>Haim</strong> <strong>Steinbach</strong>,” The Village Voice: Voice Choices,<br />
March 14, p. 9<br />
Manetas, Miltos, “<strong>Haim</strong> <strong>Steinbach</strong>: Strenesse Group Showroom,” Flash Art, No. 1<strong>85</strong>, November-December, 1995,<br />
pp.137-138, illus p. 137<br />
Marziani, Gianluca, “Feticci sulle tombe murali,” L’Opinione, Dec. 21, art repro.<br />
Meneguzzo, Marco, “Memorie di minimaalisti sull’altare della quoditianà,” Avvenire, October, art repro.<br />
Misuraca, Giuseppe, “Le installazione e il suono,” Luna Nuova, October 27<br />
Paglieri, Marina, “L’Agenda Di Oggi: Da Vedere,” La Repubblica, October 26, art repro.<br />
Robertazzi, Di Silvia; “Un israeliano al Castello di Rivoli”, Elle Decor, December, art repro. p.149<br />
Roso, Marco, “<strong>Steinbach</strong> e Neuhaus gli estremi si toccano,” La Stampa, Nov. 6, art repro.<br />
<strong>Steinbach</strong>, <strong>Haim</strong>, “&, we thought of everything” slogan project for Permanent Food 2<br />
<strong>Steinbach</strong>, <strong>Haim</strong>, “you don’t see it, do you?,”(portfolio project), Grand <strong>Street</strong>, Vol. 53,<br />
art repro. pp. 249-256<br />
Vettese, Angela “A Oguno il Suo Museo; Incontro con <strong>Haim</strong> <strong>Steinbach</strong>, Artista Che Non Crea Ma Seleziona” Il<br />
Sole - 24 Ore, October 8, art repro., p. 31<br />
Vettese, Angela. “Caravanserraglio Arte Contemporanea,” domus, November, pp. 69-70, art repro. p. 69<br />
Vinella, Maria, “Pescara, Fuori Uso,” Juliet, No. 74, October - November, art repro. p.70<br />
Volk, Gregory “Drawing on the Desert for a ‘Utopian’ Art Show” Forward, May 19, p. 9-10, art repro. p. 10
Zevi, Adachiara, “Merce fatta ad arte: Scarpe a tazze. Da collezionare,” Corriere Della Sera, November 20, art<br />
repro.<br />
_______________, “In the Field,” STUDIO Art Magazine, May 1995, art repro. p.7<br />
_______________, “L’arte va di moda: Un’installazione-passerella ideata da <strong>Steinbach</strong> per Strenesse,” Il Giornale<br />
Dell’Arte, no. 139, December<br />
_______________, “L’Evoluzione Di Strenesse Group: L’arte di essere molto speciale,” La Nazione, October<br />
_______________, “Lo scultore <strong>Steinbach</strong> tra abiti e spruzzi,” La Repubblica, October 13<br />
_______________, “Oggettualità sonora e sonorita virtuale: <strong>Haim</strong> <strong>Steinbach</strong> e Max Neuhaus,” Vernissage<br />
supplement to Il Giornale Dell’Arte, no. 139, December<br />
_______________, “Spotlight on Art,” Mondo Uomo #88, Nov-Dec, art repro. p. 14<br />
_______________, “Speciale Anteprima: Fuori Uso ‘95,” Segno no. 141, art repro. p. 22<br />
_______________, “<strong>Steinbach</strong>, o l’allegoria della contemporanità,”” Messagero Veneto, December 19<br />
1996 Barucco, Simona, “Esperienza d’artista,” Il Giornale Di Napoli, Nov. 29, art repro.<br />
Bertoni, Mario, “Bagnoli Pistoleto, <strong>Steinbach</strong>, Neuhaus, Kapoor, Icaro; Assonanze di fine secolo,” Segno, January-<br />
February, p. 19-21, art repro. p. 21<br />
Bortolotti, Maurizio, “<strong>Haim</strong> <strong>Steinbach</strong>: review of Charta/Rivoli catalogue” Domus, February ’96, p. 116.<br />
Budney, Jen, “<strong>Haim</strong> <strong>Steinbach</strong>,” Flash Art Italia, April - May, pp. 54-57, cover art repro.<br />
Budney, Jen, “<strong>Haim</strong> <strong>Steinbach</strong>: Naked in the Nineties,” Flash Art International, November-December, pp. 88-92, art<br />
repro.<br />
Cicelyn, Eduardo, “L’arte, il gioco delle allegorie,” Il Mattino, Nov. 26, art repro., p. 14<br />
Conti, Tiziana, “<strong>Haim</strong> <strong>Steinbach</strong>; Castello di Rivoli, Torino,” Tema Celeste, Winter ‘95 - ’96, art repro.<br />
Cristov-Bakargiev, Carolyn, “In contemplazione della formica,” Il Sole 24 Ore, Dec. 15, p. 32<br />
Curto, Guido, “<strong>Haim</strong> <strong>Steinbach</strong>: Castello di Rivoli,” Flash Art Italia, December - January<br />
De Chassey, Eric, “Visite Trés Privee Chez Les Plus Grands Collectioneurs,” Beaux Arts no. 141, January, pp. 56-<br />
57, art repro. p. 57<br />
Gauthier, Michel, “Le rapport expositionel (a propos des objets sur étagères de <strong>Haim</strong> <strong>Steinbach</strong>),” Art Presence,<br />
No. 18, April-May-June, art repro., pp.12 - 31<br />
Hainley, Bruce “All the Rage: The Art/Fashion Thing,” Artforum, March, pp.77-78<br />
Lütticken, Sven,“De einden van de kunstgeschiedenis,” De Witte Raaf no. 61, May-June, art repro. p. 3<br />
Marucci, Luciano, “<strong>Haim</strong> <strong>Steinbach</strong>,” (interview), Juliet, no. 76, February-March, p. 36- 37, art repro. p. 37<br />
Marten, Blair, “The Museum Gaze: <strong>Haim</strong> <strong>Steinbach</strong> at the W.A.G.,” The Plug In Harold; Winnipeg’s Art Magazine,<br />
June, p. 14<br />
Pasini, Francesca, “Primavera d’arte: Con i mecenati rifiorisce Torino,” Il Secolo XIX, January 2, art repro.<br />
Politi, Giancarlo, “Lettere: Dal Realismo al Reale,” Flash Art Italia, April-May, pp. 47-48<br />
Pratesi, Ludovico, “Archaeologie D’Oggi,” Quadri & Sculture, December ‘95 - January ‘96<br />
Rohr-Bongard, Linde, “Capital Kunst Kommpass 1996 — Die 100 Größten,” Capital, November, p.276<br />
Serlenga, Lucia, “Strenesse Group, Partendo dall’Italia,” Fashion, March 8, p. 90<br />
<strong>Steinbach</strong>, <strong>Haim</strong>, Excerpt in “Everything That’s Interesting is <strong>New</strong>,” Flash Art Italia, April-May, p. 73<br />
<strong>Steinbach</strong>, <strong>Haim</strong>, “The Hall of Antiquities,” [installation project, with text by Jane and Michael Stern], The <strong>New</strong><br />
<strong>York</strong> Times Magazine , September 29, pp. 112-113<br />
Trimarco, Angelo, “La mensola sul pentagramma, Il Mattino, Nov. 26, p. 14<br />
Zevi, Adachiara, “<strong>Haim</strong> <strong>Steinbach</strong>’s Incongruous Relationships” L’Architettura, XLII, art repro., p. 312-314<br />
_______________, “Carmencita, sei gia mia!” Vernissage supplement to Il Giornale Dell’Arte, February<br />
_______________, “Oggetto e contesto,” Gap Casa, January - February 1996, art repro., p.32<br />
_______________, “Vogue bei...Strenesse,” Vogue Deutsch, January, p. 210<br />
1997 Amiel, Petra, “<strong>Haim</strong> <strong>Steinbach</strong>: 20er Haus, Wien,” Noëma, Dec., art repro., p. 90<br />
Barucco, Simona “Recensioni; <strong>Haim</strong> <strong>Steinbach</strong>, Lia Rumma” Flash Art Italia, no. 202, Feb.-Mar., art repro., p. 113<br />
Borchhardt-Birbaumer,Brigitte, “Die neue Aura serieller Ordnungen; Zwanz’ger Haus: Arbeiten von <strong>Haim</strong><br />
<strong>Steinbach</strong>,” Weiner Zeitung, Dec. 21, art repro.<br />
Branzi, Andrea, “Un neo-classicimo imperfetto” Tema Celeste, May-June, art repro. p. 49, p. 50<br />
Caroli, Ela, “<strong>Steinbach</strong>, il sottile potere dei nostri feticci qoutidiani,” L’Unita, Jan. 13, art repro.<br />
Chambers, Christopher, “December Picks [<strong>Haim</strong> <strong>Steinbach</strong> at Sonnabend Gallery],” NY Arts Magazine, no. 16, Dec<br />
- Jan. , art repro.<br />
Conti, Tiziana “Futuro Presente Passato 1967-1997; <strong>Haim</strong> <strong>Steinbach</strong>” Tema Celeste, May- June, p. 72, art repro. p.<br />
67<br />
Danto, Arthur et al., “Stile, narrazione e post-Storia; conversazione tra Arthur Danto, Demetrio Paparoni e Mario<br />
Perniola” Tema Celeste, May-June, art repro. p. 40<br />
Detheridge, Anna, “Visioni inattuali della citta selva,” Il Sole - 24 Ore, no. 115, April 27, p. 32<br />
Di Genova, Arianna, “Giardino di cemento: <strong>Haim</strong> <strong>Steinbach</strong>, La serra rumorosa dei media,” il manifesto, April 23,<br />
art repro., p. 24<br />
Felicetti, Gianluca, “Morire per una mostra,” La Repubblica, May 1<br />
Hofleitner, Johanna, “Von der subjektiven Wertzuschreibung,” Die Presse, (supplement), Nov. 14, art<br />
repro.<br />
Hofleitner, Johanna, “Das weite Feld der Psychoanalyse beackern,” Die Presse, Nov. 11, art repro., p. 26
Horny, Henriette, “Die Wunderkammer eines kühlen Denkers,” Kurier, Dec. 22, art repro.<br />
Krumpl, Doris, “Postfreudianisches auf der Couch,” Der Standard, Nov. 11<br />
Malara, Giuseppe, “Quindici criceti sacrificiati per una mostra,” Il Tempo, April 26<br />
Marucci, Luciano, et. al., “Biennale Documenta, e altre storie,” Juliet, #84. Oct.- Nov. p. 26 (statement by <strong>Haim</strong><br />
<strong>Steinbach</strong>)<br />
Melchart, Erwin, “Wann ist etwas ‘Kunst’?” Neue Kronen Zeitung, Nov. 22, art repro.<br />
Mittringer, Markus, “Wählen und Ordnen <strong>Steinbach</strong> im 20er Haus,” Der Standard, Nov., art repro., p. 9<br />
Pacifico, Maya, “Napoli per l’arte”, Next, no. 38, Spring, art repro., p. 55<br />
Pieroni, Augusto, “La natura della citta”. Liberazione, April 26, art repro., p. 26<br />
Pratesi, Ludovico, “<strong>Haim</strong> <strong>Steinbach</strong> da Lia Rumma,” Artel, Jan. 17, p. 8<br />
Reininghaus, Alexandra, “Wein: <strong>Haim</strong> <strong>Steinbach</strong>, Studien zur Soziologie des Bügelbretts,” Art, Das Kunstmagazin,<br />
#12, Dec., art repro., pp. 98-99<br />
Schwendener, Martha, “<strong>Haim</strong> <strong>Steinbach</strong>,” Time Out <strong>New</strong> <strong>York</strong>, #115, Dec. 4 -11, art repro., p. 55<br />
Sotriffer, Kristian, “Auf der Alltagswelt-Baustelle,” Die Presse, Nov. 27<br />
Träger, Wolfgang, “Biennale Venedig,” (photo essay) Kunstforum, #138, Sep.- Nov., art repro. p. 409<br />
Weh, Vitus H., “Zeitreisen im Tuk-Tuk-Taxi: <strong>Haim</strong> <strong>Steinbach</strong>,” Stadtzeitung Wein Falter, Week 49, art repro.<br />
Illustrierte Neue Welt, #10, October, p. 3, art repro. pp. 1, 3<br />
_______________, “Art <strong>New</strong>s: <strong>Steinbach</strong>, Anzinger, Gonzales-Torres at the Museum Moderner Kunst Stiftung<br />
Ludwig Wien, Art International , #37, art repro.<br />
_______________, “Criceti ‘opera d’arte’ denuncia della Lav,” La Repubblica, April 24<br />
_______________, “<strong>Haim</strong> <strong>Steinbach</strong>,” Vernissage, #12, Dec.<br />
_______________, “<strong>Haim</strong> <strong>Steinbach</strong>,” Falter, #50, Dec.<br />
_______________,“ Kunst: <strong>Haim</strong> <strong>Steinbach</strong>,” Vogue Munchen, Nov., art repro.<br />
_______________, “Kunst: Wien; Haushaltskunst” Architektur & Wohnen, June, p. 184, art repro.<br />
1998 Arnold, Venna, “Review: Winchester School of Art,” ViewPoint, April 30, art repro., p.11<br />
Barilli, di Renato, “Corpi sospesi conttro la gravità,” L’Espresso, Sept. 17, p.119, art repro.<br />
Beil, Ralf, “Werbung ist das halbe Leben; Das Kunsthaus Bregenz und der ‘Lifestyle’,” Neue Zürcher Zeitung, Aug.<br />
8<br />
Ferri, Silvia, “<strong>Haim</strong> Steinach”, Flash Art Italia, Oct-Nov., art repro. p.142-143<br />
Gennari, Maurizio, “Caro Amico ti Scrivo. Tuo Rossini”, Il Giorno, Aug. 4, 1998<br />
Gorsen, Peter, “Was die Dinge erzählen; Ready-mades im Regal: <strong>Haim</strong> <strong>Steinbach</strong> in Southampton,” Frankfurt<br />
Allgemeiner Zeitung, April 7, art repro., p. 44<br />
Hollander, Vera, “Making the Connection,” Bezalel <strong>New</strong>s , bulletin of the Friends of Bezalel Academy of Arts and<br />
Design, vol. 10, no. 4, p.9, art repro.<br />
Marucci, Luciano, “Spray Italy: Pesaro,” Juliet no. 89, Oct. - Nov. p. 77<br />
Marucci, Luciano, “Glocalcult,” Juliet no. 90, Dec ‘98-Jan ‘99 p. 36 - 37 [statement by <strong>Haim</strong> <strong>Steinbach</strong> p. 37]<br />
Marucci, Luciano, “<strong>Haim</strong> <strong>Steinbach</strong>,” Juliet no. 90, Dec. ‘98 - Jan. ‘99, pp. 42 - 43, art repro. [interview with <strong>Haim</strong><br />
<strong>Steinbach</strong>]<br />
Niccolini, Lucilla, “Personaggi d’Opera Sognano l’Italiana”, Corriere Adriatico , Aug. 8, 1998<br />
O’Shaughnessy, Sally, “Shelf Life,” The Latest, March, art repro.<br />
Schor, Gabriele, “Am Nullpunkt der Kunst: <strong>Haim</strong> <strong>Steinbach</strong> in Wien,” Neue Zürcher Zeitung, #2, Jan. 5<br />
Schütz, Heinz, “Lifestyle,” Kunstforum International, vol. 142, Oct. - Dec. pp. 446-448<br />
Searle, Adrian, “All Played Out,” The Guardian, April 7, p. 10-11<br />
Thompson, Patricia, “Gallery Scoops a <strong>Steinbach</strong> UK First,” The Daily Echo, March 7<br />
Tozer, John, “<strong>Haim</strong> <strong>Steinbach</strong>,” Art Monthly , May, art repro., p. 28-29<br />
Verzotti, Giorgio, “Reviews, Vienna: <strong>Haim</strong> <strong>Steinbach</strong>, Museum Moderner Kunst,” Artforum, May, pp. 157-158, art<br />
repro. p. 158<br />
Zeleznik, Adela, “Successful Art Marks Time, An Interview With <strong>Haim</strong> <strong>Steinbach</strong>,”M’ARS, x/3,4 1998, pp.1-16,<br />
art repro. pp.1,3,4,6,7,9,11,13,14,15.<br />
_____________, “I Manichini di <strong>Steinbach</strong> alla Galleria di Franca Mancini”, Corriere Adriatico , Aug. 11<br />
_____________, “Pesaro ‘Rossinilandia’”, Corriere Dell’Umbria, Aug. 9<br />
_____________, “<strong>Steinbach</strong>, il Multimediale che Piacerabbe a Rossini” Arte Sept.<br />
_____________, “Wiener Museen,” Memo, Jan., p. 6 [art repro. with quote by <strong>Haim</strong> <strong>Steinbach</strong>]<br />
1999 Beccaria, Marcella, “<strong>Haim</strong> <strong>Steinbach</strong>,” Castello di Rivoli : La Collezione [Online] Available:<br />
http://www.castellodirivoli.torino.it/autori/steinb.html [July 29], art repros.<br />
Boos, Michelle, “<strong>Haim</strong> <strong>Steinbach</strong>, The Ritual of Everyday”, Wall <strong>Street</strong> Reporter Magazine, Inc., Inside Art,<br />
September 1999, pp. 1, 3-5, art repro.<br />
Cotter, Holland, “Building Histories”, The <strong>New</strong> <strong>York</strong> Times, Nov. 5, p. E41<br />
Davidson, Susan, “Unending Irreverence”, ARTnews, May, p.147<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, art repro. p. 43, 44<br />
Gilerman, Dina “Ten in One,” H’Arretz, January 14<br />
Johnson, Ken, “Scripta Manent”, The <strong>New</strong> <strong>York</strong> Times, June 4<br />
Levine, Angela “Who’s Afraid of Conceptual Art?” The Jerusalem Post, February 5, p. 30-31, art repro. p. 30
Skolnik, Hila, “Opening,” Kol Bo, January 15, pp. 84-<strong>85</strong>, art repro. p. <strong>85</strong>, Tel Aviv, Israel<br />
<strong>Steinbach</strong>, <strong>Haim</strong>, book statement, Bookforum, summer 1999, p.27<br />
<strong>Steinbach</strong>, <strong>Haim</strong> “dirty dozen* / more or less,” magazine project, Intercommunication, no. 30, Autumn, pp.152-153<br />
Dreaming III, Contemporary American Art & Japanese Old Ceramics, Akira Ikeda Gallery/<strong>New</strong> <strong>York</strong><br />
______________, “In Gray and Pink.” B’Aeer, January 22, pp.44-45<br />
2000 Alpayim, 2000, p.191<br />
Berg, Ronald , “Wenn die Dinge heimlich sprechen: Im Neuen Berliner Kunstverein spielt <strong>Haim</strong> <strong>Steinbach</strong> den<br />
Vermittler,” Frankfurter Allgemeine Zeitung, Nr. 120, May 24<br />
Erfle, Anne, “Jeder Kitsch hat seine eigne Geschichte,” Suddeutsche Zeitung ( SZ Extra Ausstellungen), Nr. 206,<br />
September 7-13, art repro. p. 4<br />
Heartney, Eleanor, “An Adieu to Cultural Purity,” Art in America, October, art repro. p.154<br />
Griffin, Tim; Palombo, Dominique (photos), “Working the Room”, Smock , Fall/ Winter 2000, pp.62-69<br />
Jensen, Jennifer, “College exhibit explore 50 years of faculty artwork,” Addison County Independent, January 24, p.<br />
3<br />
KBM, “Alltagswelten,” Berlin Magazine, Nr. 11, March 25<br />
Lambrecht, Luk, “Kunstgrepen” De Morgen, April 14, 2000<br />
Muller, Dorothee, “Ding sucht Gesellschaft,” Suddeutsche Zeitung (Feuilleton), Nr. 207, September 8, art repro. p.19<br />
Muller, Katrin Bettina, “Bei Dingfamilien zu Besuch,” Die Tageszeitung,” June 5<br />
PH, Kunst Bulletin, June 2000<br />
Pratesi, Ludovico, “Divino Castello: L’arte sugli spalti che guarda a bio,” La Repubblica, Anno 7- Numero 28, July<br />
17, p.IV<br />
Reissner,Katje, “Die Codes der Kannen: Ein Werk von <strong>Haim</strong> <strong>Steinbach</strong> im Neuen Berliner Kunstverein,” Der<br />
Taggesspiegel, Nr. 17067<br />
Ruthe, Ingeborg, “Wenn die Dinge reden: Der amerikanisch-israelische Objectkuenstler <strong>Haim</strong> <strong>Steinbach</strong> im<br />
NBK,” Feuilleton, Nr. 125, May 30<br />
Schneck-Sorge, Jutta, “<strong>Haim</strong> <strong>Steinbach</strong>: North East South West,” Kunstforum, Bd. 151, July-September, art repro.<br />
pp. 312-313<br />
<strong>Steinbach</strong>, <strong>Haim</strong>, “L’arte frammentata”, Tema Celeste, January-February 2000, pp. 84-<strong>85</strong><br />
Traub, Ulrich, “Tarzanschreie hallen durch die City,” Gmünder Tagespost (Kulturspiegel)<br />
Zitty, Claudia Wahjudi, “Steine, Porzellankatzen, Rindfleisch-Konserven: <strong>Haim</strong> <strong>Steinbach</strong> im Neuen Berliner<br />
Kunstverein,” Kunstnippes, 12/2000<br />
2001 Curto, Guido, “<strong>Steinbach</strong>, un Morandi Postmoderno”, Da Tuttolibri, December 15<br />
Di Pietrantonio, Giacinto, “Because I Admit that I Would Like to Be Somewhere Else If and When It/He Will<br />
Come; A Meeting with Bart De Baere, Eran Schaerf, Moshe Ninio, Irit Rogoff, <strong>Haim</strong> <strong>Steinbach</strong>”, Perche/?, May<br />
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 Donne, March 2001,<br />
pp. 286-291<br />
Meneguzzo, Marco, “<strong>Haim</strong> <strong>Steinbach</strong>, Galleria Massimo Minini, Brescia”, tema celeste, September-October 2001, p.<br />
79<br />
Perlo, Luisa, “<strong>Haim</strong> <strong>Steinbach</strong>”, Recensioni, Da Titolo, Winter 2001/2002<br />
2002 “Alles ist hübsch”, Der Standard Rondo, April 5, 2002, picture p. 6<br />
Drier, Melissa, “The Art and Splendor of Shopping,” WWD, October 2002 p. 11<br />
Gambari, Olga “<strong>Steinbach</strong>, gli oggetti tra metafisica e pop”, La Republica, February 4<br />
“<strong>Haim</strong> <strong>Steinbach</strong>, Galerie Hubert Winter”, www.artsmagazine.cc, March 15<br />
“<strong>Haim</strong> <strong>Steinbach</strong>”, Urban, No. 5, January 2002<br />
Hofleitner, Johanna, “<strong>Haim</strong> <strong>Steinbach</strong>, Galerie Hubert Winter”, Die Presse, March 13<br />
Metzger, Rainer, “Gallerie Hubert Winter: <strong>Haim</strong> <strong>Steinbach</strong>”, Art Magazine, March 3, p.1 art repro.<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 “<strong>Steinbach</strong>, 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 />
Fusco, Maria, “<strong>Haim</strong> <strong>Steinbach</strong>’s NON,” Afterart news, Paris, winter 2003/2004<br />
Griffin, Tim, “Interview with <strong>Haim</strong> <strong>Steinbach</strong>,” 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, cover, p. 24<br />
Rimanelli, David, “Time Capsules 1980 – 19<strong>85</strong>,” Artforum, March, art repro. p. 134<br />
Rimanelli, David, “Time Capsules 1986 – 1990,” Artforum, April, art repro. p. 87<br />
Senaldi, Marco, “<strong>Haim</strong> <strong>Steinbach</strong>: Essenza É Apparenza”, Impackt, February, cover, pp. 78 - <strong>85</strong><br />
Sharp, Amanda, “Amanda Sharp visits Prada and Moss with <strong>Haim</strong> <strong>Steinbach</strong>,” Frieze, April, pp. 50 - 53<br />
<strong>Steinbach</strong>, <strong>Haim</strong>, artist’s project “More or Less”, Der Standard, Austria, May 13. p. 6, 7
Titz, Walter, “170 Tonnen Kunst im öffentlichen Raum”, Kultur, März 2003<br />
Worth, Alexi,“The Trouble with Christian,” Artforum, March, pp. 242 – 245, art repro. 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 repo p. 93<br />
Leffingwell, Edward, “<strong>Haim</strong> <strong>Steinbach</strong> at Sonnabend,” Art in America, October, Art repro p. 154<br />
Coomer, Martin, “<strong>Haim</strong> <strong>Steinbach</strong>, Gimpel Fils,” Time Out, November 10-17, Art repro p. 58<br />
Smith, Roberta, “Looking Back At the Flurry On the Far Side,” <strong>New</strong> <strong>York</strong> Times, December 10, 2004<br />
2005 Baker, Kenneth, “Defying the notion of uselessness as a sign of authenticity”, San Francisco Chronicle,<br />
August 6, p. E10, art repro. p. E10<br />
Bankowsky, Jack, “East Village USA,” Artforum, April, pp. 179 – 180, art repro. p. 179<br />
Celant, Germano, “Oggetti e feticci,” L’espresso, September, p. 102<br />
Doran, Anne, “Passages,” Time Out <strong>New</strong> <strong>York</strong>, 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 <strong>New</strong>s, March<br />
Moreno, Gean, “Good Titles From Bad Books,” Art Us, p.20, art repro. p. 20<br />
Schwabsky, Barry, “Shelf Life (on the art of Carol Bove),” Artforum, January, 2005, pp. 164-165<br />
“Ten Years – Generations of Art,” Fondazione Antonio Ratti, Como, La Provincia Suppliment, April, 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 Vienna,”<br />
The <strong>New</strong> <strong>York</strong>er, Goings On About Town, June 5<br />
Casadio, Mariuccia, “The Objects and <strong>Haim</strong> <strong>Steinbach</strong>”, L’uomo Vogue, October, pp. 45-47,<br />
art repro. pp. 45-47<br />
Celant, Germano, “<strong>Haim</strong> <strong>Steinbach</strong>: An Existential Building Site,” InterReview, pp. 56-57, art repro. p. 57<br />
Douglas, Sarah, “Staying Power”, Art + Auction, November, pp. 160-167, art repro. p. 164<br />
Estep, Jan, “More and Less: <strong>Haim</strong> <strong>Steinbach</strong>’s Dialectics,” InterReview, pp. 58 – 60, art repro. p. 58<br />
Glueck, Grace, “Freud and Contemporary Art, The Collection of the Sigmund Freud Museum, Vienna,”<br />
The <strong>New</strong> <strong>York</strong> Times, June 16, p. E33<br />
Hilgenstock, Andrea, “Michael Pauseback und die Galerie Akira Ikeda”, Kunstzeitung, October, p. 23<br />
Lapthisophon, Stephen, “Stephen Lapthisophon on <strong>Haim</strong> <strong>Steinbach</strong>,” InterReview, pp. 61 – 62, art repro. p.<br />
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 <strong>Haim</strong> <strong>Steinbach</strong>’s<br />
‘North East South West’,” InterReview, pp. 63-66, art repro. p. 63<br />
<strong>Steinbach</strong>, <strong>Haim</strong>, “Artist's Project”, InterReview, pp. 20 – 28, cover<br />
Von Döltzschen, Ulrich, “Akira Ikeda Gallery zeigt Objekte von <strong>Haim</strong> <strong>Steinbach</strong>,” Die Welt, October 20, art<br />
repro.<br />
Wolfe-Suarez, Ginger, “Ginger Wolfe-Suarez Interviews <strong>Haim</strong> <strong>Steinbach</strong>,” InterReview, pp. 51-55 art repro. p.<br />
53<br />
2007 _____________, “<strong>Haim</strong> <strong>Steinbach</strong>,” The <strong>New</strong> <strong>York</strong>er, Goings On About Town, June 4, p. 17<br />
_____________, “<strong>Haim</strong> <strong>Steinbach</strong> – Works 1983-2006”, Mousse, <strong>New</strong>s, April, p. 79, art repro. p. 79<br />
Bonazzoli, Francesca, “Mensole-ritratto” tra Duchamp e Carver, Gli oggetti reinventati dall’israeliano <strong>Haim</strong><br />
<strong>Steinbach</strong>, Corriere Della Sera, April 11, p. 19, art repro. p. 19<br />
Ferrara, Jolanda, “L’opera concettuale di <strong>Haim</strong> <strong>Steinbach</strong> da Vistamare”, Il Centro – Cultura & Spettacoli,<br />
April 17, p. 42. art repro.<br />
Griffin, Tim, “<strong>Haim</strong> <strong>Steinbach</strong>,” Artforum, October, art repro. p. 368<br />
Hainley, Bruce, “<strong>Haim</strong> <strong>Steinbach</strong>,” Artforum, December, art repro. pp. 338, 339<br />
Meazza, Stefania, “<strong>Haim</strong> <strong>Steinbach</strong> – Lia Rumma, Milano; Vistamare, Pescara”, Il Segno, p. 213, May – June<br />
Schwendener, Martha, “Proof That Things Are People Too (Well, Almost)”, The <strong>New</strong> <strong>York</strong> Times, May 18,<br />
art repro. p. E29<br />
Scuderi, Massimiliano, “<strong>Haim</strong> <strong>Steinbach</strong> – Vistamare/ Lia Rumma (MI)”, Flash Art, n. 269, June –July<br />
Scuderi, Massimiliano, “<strong>Haim</strong> <strong>Steinbach</strong>, Vistamare, Pescara” Arte e Critica, n. 51, June-July<br />
Tremblay, Nicholas, “<strong>Haim</strong> au pays des objets”, Numero, December/January, pp. 40-43, art repro. pp. 40-43<br />
2008 Ardenne, Paul, “<strong>Haim</strong> <strong>Steinbach</strong>,” Artpress, January, pp. 82, 83, art repro. p. 82<br />
Banai, Nuit, “John Armleder, Olivier Mosset, <strong>Haim</strong> <strong>Steinbach</strong>,” Time Out <strong>New</strong> <strong>York</strong>, July 17-23, p. 58<br />
Benhamou-Huet, Judith, “l’a avventura de <strong>Steinbach</strong>”, bc, Winter, pp. 54-57<br />
Heartney, Eleanor, “<strong>Haim</strong> <strong>Steinbach</strong> at Sonnabend,” Art in America, January, p. 132, art repro. p. 132<br />
Herbert, Martin, “<strong>Haim</strong> <strong>Steinbach</strong>,” Time Out London, June 19-25, art repro. p. 61<br />
Johnson, Ken, “John Armleder, Olivier Mosset, <strong>Haim</strong> <strong>Steinbach</strong>”, The <strong>New</strong> <strong>York</strong> Times, August 1, p.29
Lewis, Ben, “An exhibition fom another planet,” Evening Standard, March 6<br />
Porret, Karine, “Totems & Tabous”, Stilletto Homme, Febuary, pp. 88, 89, art repro. p. 89<br />
<strong>Steinbach</strong>, <strong>Haim</strong>, “The Artists on Artists: <strong>Haim</strong> <strong>Steinbach</strong> on Shelley Silver”, Artforum, December, p. 100<br />
<strong>Steinbach</strong>, <strong>Haim</strong>, “The Eyes Had It”, 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, “<strong>Haim</strong> <strong>Steinbach</strong>”, Time Out London, June 19-25, p. 61, art repro. p. 61<br />
_____________, “Armleder/Mosset/<strong>Steinbach</strong>,” The <strong>New</strong> <strong>York</strong>er, Goings On About Town, July 7<br />
2009 Ciraugui, Manuel, “<strong>Haim</strong> <strong>Steinbach</strong>,” Double. No. 18 Autumn/Winter 2009, p. 110 (art repro. 117)<br />
2010 Ciraugui, Manuel, “<strong>Haim</strong> <strong>Steinbach</strong>,” Lapiz. No. 262 June/July 2010<br />
2011 Burton, Johanna, “<strong>Haim</strong> <strong>Steinbach</strong>,” Artforum, December, p. 252 (art repro.)<br />
Demetry, John, “Stephen King Debunks the Art of Horror,” City Arts, September 28, p. 19 (art repro.)<br />
Doran, Anne, “<strong>Haim</strong> <strong>Steinbach</strong>,” Art in America, November<br />
Docx, Edward, “Postmodernism is dead,” Prospect, August, p. 41 (art repro.)<br />
_____________, “<strong>Haim</strong> <strong>Steinbach</strong>,” The <strong>New</strong> <strong>York</strong>er, Goings On About Town, October 10, p. ___<br />
_____________, “You can’t be serious,” Financial Times, September 4, p. 8 Life & Arts (art repro.)<br />
_____________, “Entertainment,” The <strong>New</strong> <strong>York</strong>er, Goings On About Town, April 4, p. 13<br />
_____________, “Critics’ Picks,” Time Out <strong>New</strong> <strong>York</strong>, September 8-14, p. 57 (art repro. 55)<br />
_____________, “<strong>Haim</strong> <strong>Steinbach</strong>,” The <strong>New</strong> <strong>York</strong>er, Goings On About Town, October 10, p. 18<br />
O’Connel, Alex, “Po-Mo: it feels so very yesterday.” The Times, September 19, p. 11 (art repro.)<br />
Sterngast, Tal, “There was a Secret before there was something to Hide,” Texte zur Kunst, September/Issue No. 83,<br />
p. 203<br />
Russeth, Andrew, “Off the Shelf,” The <strong>New</strong> <strong>York</strong> Observer, August 5, p. 42 (art repro.)<br />
Schmerler, Sarah, “<strong>Haim</strong> <strong>Steinbach</strong>, ‘Creature’,” Time Out <strong>New</strong> <strong>York</strong>, October 6-12, p. 49 (art repro.)<br />
Smith, Roberta, “<strong>Haim</strong> <strong>Steinbach</strong>: creature,” The <strong>New</strong> <strong>York</strong> Times, September 23 (art repro.)<br />
Vergne, Philippe, “Roving Eye: After Robert Bresson”, Art in America online, September 16<br />
2012 Stillman, Steel, “<strong>Haim</strong> <strong>Steinbach</strong> in the Studio with Steel Stillman”, Art in America, January, pp. 82-91<br />
BOOKS AND CATALOGUES<br />
l983 Objects, Structures, Artifice, text Michael Klein; SVC Fine Arts Gallery, University of South Florida, Tampa (cat.)<br />
l9<strong>85</strong> Infotainment, text George W.S. Trow, David Robbins, Thomas Lawson; Livet Reichard Co. Inc., <strong>New</strong> <strong>York</strong> (cat.)<br />
l986 A Brokerage of Desire, text Howard Halle, Walter Hopps; Otis Art Institute, Los Angeles. (cat.)<br />
Arts and Leisure, text Glenn O’Brien; Group Material and The Kitchen, <strong>New</strong> <strong>York</strong> (cat.)<br />
Beyond Boundaries, Jerry Saltz; Alfred van der Marck Editions, <strong>New</strong> <strong>York</strong>.<br />
Damaged Goods / Desire and the Economy of the Object, text Hal Foster, Brian Wallis, et al.; The <strong>New</strong> Museum of<br />
Contemporary Art, <strong>New</strong> <strong>York</strong> (cat.)<br />
Endgame, text Yve-Alain Bois, Thomas Crow, Hal Foster, et al.; Institute of Contemporary Art, The MIT Press,<br />
Cambridge, Massachusetts, Boston (cat.)<br />
Fake, The <strong>New</strong> Museum of Contemporary Art (cat.)<br />
<strong>New</strong> Sculpture, text Gary Garrels; Renaissance Society of the Univ. of Chicago. (cat./brochure)<br />
Prospect 86, Frankfurter Kunstverein Schirn Kunsthalle Frankfurt (cat.)<br />
Rooted Rhetoric, text Benjamin H.D. Buchloh, Gabriele Guercio, Joesph Kosuth, et al.; Castel dell’Ovo, Naples;<br />
Guida Editori, Naples (cat.)<br />
WPA Document, Washington Project for the Arts, Washington, D.C., p.46.<br />
l987 Art and Its Double, text Dan Cameron; Fundacion Caja de Pensiones, Barcelona (cat.)<br />
Avant-Garde in the Eighties, text Howard N. Fox; L.A. County Museum of Art (cat.)<br />
Coleccion Sonnabend, text Michel Bourel, et al.; Centro de Arte Reina Sofia, Ministerio de Cultura, Madrid (cat.)<br />
Les Courtiers du Desir, text Howard Halle, Walter Hopps; Centre Georges Pompidou, Paris (cat.)<br />
Currents 12: Simulations, <strong>New</strong> American Conceptualism, Dean Sobel; Milwaukee Art Museum, Milwuakee, p. 3, art<br />
repro. cover, (brochure)<br />
NY Art Now: The Saatchi Collection, text Dan Cameron; Giancarlo Politi Editore, Milan. (cat.)<br />
<strong>New</strong> <strong>York</strong> Now, text Brian Wallis; The Israel Museum, Jerusalem.(cat.)<br />
Perverted by Language, text Robert Nickas; Hillwood Art Gallery, Long Island University/C.W. Post Campus,<br />
Greenvale, <strong>New</strong> <strong>York</strong> (cat.)<br />
Reconstruct, John Gibson Gallery, <strong>New</strong> <strong>York</strong> (cat.)<br />
l988 Art at the End of the Social, text Tricia Collins, Richard Milazzo; Rooseum, Malmo, Sweden. (cat.)<br />
Artschwager: His Peers and Persuasion l963 - 88, text Klaus Kertess; Daniel Weinberg Gallery, Los Angeles (cat.)<br />
The Binational, American Art of the Late 80s, text Thomas Crow, Lynne Tillman, et al.; Institute of Contemporary Art<br />
and Museum of Fine Arts, Boston, and Dumont Buchverlag, Koln (cat.)<br />
Cultural Geometry, text Jeffrey Deitch, Peter Halley; Deste Foundation for Contemporary Art, Athens (cat.)<br />
Fonds National D’Art Contemporain, Acquisitions l988, text Jean-Michel Foray, et al. (cat.)<br />
<strong>Haim</strong> <strong>Steinbach</strong>: Recent Works, text Germano Celant, Jean-Louis Froment, Elisabeth Lebovici, John Miller, <strong>Haim</strong><br />
<strong>Steinbach</strong>; capc Musee d’Art Contemporain de Bordeaux, (cat.)
Hybrid Neutral, text Tricia Collins and Richard Milazzo, Gary Indiana; Independent Curators Inc., <strong>New</strong> <strong>York</strong> (cat.)<br />
Imagine, Gruppo GFT, Turin (cat.)<br />
Innovations in Sculpture l9<strong>85</strong>-88, text Martha B. Scott; Aldrich Museum of Contemporary Art. (essay)<br />
Kunst der Gegenwart; text Klaus Honnef; Taschen, Cologne.<br />
Mimimalism, text Kenneth Baker; Abbeville Press, N.Y.<br />
Modern Dreams, The Rise and Fall of Pop, Edward Leffingwell and Karen Marta, ed.; Institute for Contemporary Art<br />
and The Clocktower Gallery, <strong>New</strong> <strong>York</strong> (cat.)<br />
<strong>New</strong> <strong>York</strong> in View, text Zdenek Felix, Noemi Smolik; Kunstverein Munchen (cat.)<br />
Post-to-Neo, The Art world of the 1980’s, Calvin Tomkins; Penguin Books, <strong>New</strong> <strong>York</strong>,<br />
ReDefining the Object, Wright State University, Dayton (cat.)<br />
Schlaf der Vernunft, text Marcus Bruderlin, Veit Loers, Lucius Burckhardt; Museum Fridericianum Kassel,<br />
Germany (cat.)<br />
The Sonnabend Collection, text Michel Bourel et al.; capc Musee d’Art Contemporain de Bordeaux (cat.)<br />
Three Decades, The Oliver Hoffman Collection, text Bruce Guenther, Camille Oliver- Hoffman, I. Michael Danoff,<br />
Phyllis Tuchman, Lynn Warren; Museum of Contemporary Art, Chicago (cat.)<br />
Unexpressionism, Germano Celant; Rizzoli, <strong>New</strong> <strong>York</strong>.<br />
Works, Concepts, Processes, Situations, Information, text Robert Nickas, et al.; Galerie Hans Mayer, Dusseldorf, l988-<br />
89<br />
l989 Avant l989 (exhibition curated by <strong>Haim</strong> <strong>Steinbach</strong>); Villa Gillet -Frac Rhone-Alpes (cat.)<br />
Abstraction in Question, text Bruce Ferguson, Joan Simon, and Roberta Smith; John and Mable Ringling Museum of<br />
Art, Sarasota, Florida (cat.)<br />
La Collezione Sonnabend, Dalla Pop Art in poi; text Michel Bourel et al.; Electa, Milan. (cat.)<br />
Conspicuous Display; text Sid Sachs; Stedman Art Gallery, Rutgers University (cat.)<br />
D&S Ausstellung, text Jurgen Schweinebraden, et al.; Kunstverein, Hamburg (cat.)<br />
A Forest of Signs, Art in the Crisis of Representation, text Ann Goldstein, Mary Jane Jacob, et al.; Museum of<br />
Contemporary Art, Los Angeles, pp. 58-59,153 art repro. 58, 118- 119 (cat.)<br />
Hamburg Projekt l989, November-December l989 (cat.)<br />
Horn of Plenty; text Dan Cameron, Gosse Oosterhof, Stedelijk Museum, Amsterdam (cat.)<br />
Hyperframes, text Tricia Collins and Richard Milazzo; Editions Antoine Cadeau.<br />
Microsculpture, text Ronald Onorato; University of Rhode Island (cat.)<br />
Nature Naturata, text Cornelia Lauf et al.; Josh Baer Gallery, <strong>New</strong> <strong>York</strong> (cat.)<br />
Oeuf Alpha, capcMusee d’art contemporain, Bordeaux (cat.)<br />
Periodi di Marmo, text Germano Celant; Electa, Milan (cat.)<br />
Repetition, Hirschl & Adler Modern, <strong>New</strong> <strong>York</strong> (cat.)<br />
Resonances du Readymade, Thierry de Duve; Editions Jacqueline Chambon.<br />
The Silent Baroque, text Christian Leigh et al.; Edition Thaddeus Ropac, Salzburg (cat.).<br />
Superart, Achille Bonito Oliva; Giancarlo Politi Editore, Milan, art repro., p. 31<br />
Survey of the Collection, Stedelijk Museum, Amsterdam.<br />
What is Contemporary Art?, text Dan Cameron; Rooseum, Malmo, Sweden.(cat.)<br />
Wittgenstein / The Play of the Unsayable, text Joseph Kosuth; Wiener Secession, Vienna. (cat.)<br />
1990 Affinities and Intuitions, The Gerald S. Elliot Collection of Contemporary Art, text Neal Benezra, Charles F.<br />
Stuckey, Mark Rosenthal et al.; Thames and Hudson, <strong>New</strong> <strong>York</strong>; The Art Institute of Chicago (cat.)<br />
An Anthology of Statements Celebrating the Twentieth Anniversary of White Columns <strong>New</strong> <strong>York</strong>, Tricia Collins and<br />
Richard Milazzo, ed.; White Columns, <strong>New</strong> <strong>York</strong>, p. 6l.<br />
Art Against AIDS, text Elizabeth Taylor, et. al.; American Foundation for AIDS Research, <strong>New</strong> <strong>York</strong>, art repro. p.<br />
92 (cat.)<br />
Art et Publicite, text Anna Baldassari, Francois Burkhardt; Beaux Arts Magazine, Publications Nuit et Jour, Paris<br />
(publisher). (cat./brochure)<br />
Art & Pub, text Anna Baldassari, Francois Burkhardt, Jean-Hubert Martin et al.; Editions du Centre Pompidou,<br />
Paris (publisher) (cat.)<br />
Art in the Eighties, Edward Lucie-Smith; Phaidon Press, Oxford, pp. 76, 73<br />
Blau: Kaleidoskop einer Farbe, Heidelberger Kunstverein (cat.)<br />
The Decade Show, text Gary Sangster, Lowery Sims, Laura Trippi, et al; The <strong>New</strong> Museum of Contemporary Art,<br />
The Studio Museum in Harlem, Museum of Contemporary Hispanic Art (cat.)<br />
Edition Schellmann l969-l989, Edition Schellman, Munich-<strong>New</strong> <strong>York</strong>, l989 (cat.)<br />
Flash Art: XXI Years (Two Decades of History), edited by Giancarlo Politi and Helena Kontova; MIT Press,<br />
Cambridge, Mass., pp. 149-151, art repro. p. 151<br />
The Future of the Object! A Selection of American Art; Minimalism and After, text Kenneth Baker; Ronny Van de<br />
Velde, Antwerp (cat.)<br />
The Last Decade / American Artists of the 80’s, text Tricia Collins, Richard Milazzo, and Robert Pincus-Witten; Tony<br />
Shafrazi Gallery, <strong>New</strong> <strong>York</strong> (cat.)<br />
Life-size / A Sense of the Real in Recent Art, Suzanne Landau, ed.; Israel Museum., Jerusalem,(cat.)<br />
Lotte, or the Transformation of the Object (a special issue of Durch, #8/9); text Clementine Deliss et al (cat.)<br />
Multiples, text Dan Cameron; Hirschl & Adler Modern, <strong>New</strong> <strong>York</strong> (cat.)
<strong>New</strong> Art, Phyllis Freeman, Mark Greenberg, et al., ed.; Harry N. Abrams Inc., <strong>New</strong> <strong>York</strong>.<br />
The <strong>New</strong> Urban Landscape, Richard Martin, ed.; Olympia & <strong>York</strong> Companies (U.S.A.) and Drenttel Doyle Partners,<br />
<strong>New</strong> <strong>York</strong> NY (cat.)<br />
Objectives: The <strong>New</strong> Sculpture, text Dan Cameron, Paul Schimmel, et al.; <strong>New</strong>port Harbor Art Museum, California,<br />
Rizzoli, art repro., pp. 154-169 (cat.)<br />
Pop Art: A Continuing History, Marco Livingstone, Abrams, 1990. pp. 222, 244-46, fig. 361<br />
The Refco Collection, Sue Taylor, ed.; Refco Group, Ltd., Chicago.<br />
Sonnabend Collection Exhibition, text Michel Bourel; Sezon Museum of Art, Japan (cat.)<br />
The Stendhal Syndrome, text Rhonda Lieberman, Catherine Liu, Lawrence Rickels; Andrea Rosen Gallery, <strong>New</strong><br />
<strong>York</strong> (cat.)<br />
Le Spectaculaire, text Jean-Marc Poinsot et al.; cat. for exhibition, Centre d’histoire de l’art contemporain, Rennes,<br />
France.(cat.)<br />
Un Art de la Distinction?, text Jean-Paul Blanchet, Nicolas Bourriaud, Dan Cameron, et al.; Abbaye Saint-Andre<br />
Centre d’Art Contemporain, Meymac, France, pp.139-147, art repro. pp. 142, 143, 146 (cat.)<br />
Word as Image, American Art l960-l990, text Gerry Biller, Russell Bowman, Dean Sobel; Milwaukee Art Museum<br />
(cat.)<br />
Worlds Maailmat 90, text Ulla Pennanen et al.; Joensuu Art Museum, Joensuu, Finland. (cat.)<br />
1991 Altrove, text Donald Kuspit, Christian Leigh, Octavio Zaya; Centro per l’Arte Contemporanea Luigi Pecci<br />
p. 149: art repro. pp. 150-153 (cat.)<br />
American Art of the 80’s, text Gabriella Belli, Jerry Saltz; Museo d’Arte Moderna e Contemporanea di Trento e<br />
Rovereto; Electa, Milan (cat.)<br />
Anni Novanta, text Renato Barilli et al.; Arnoldo Mondadori (cat.)<br />
Art Since Mid-Century: 1945 to the Present, Daniel Wheeler; The Vendome Press, N.Y, pp. 330-332<br />
Beyond the Frame / American Art l960-l990, text Lynn Gumpert, Brian Wallis; Setagaya Art Museum (cat.)<br />
Blue Box #l, Blast, <strong>New</strong> <strong>York</strong>. (project)<br />
Denk-Bilder: Kunst der Gegenwart l960-l990, text Norbert Messler; Hirmer-Verlag GmBH, Munchen (cat.)<br />
Desplazamientos, text Donald Kuspit, Christian Leigh, Octavio Zaya; Las Palmas de Gran Canaria, Centro<br />
Atlantico de Arte Moderno (cat.)<br />
Das Goldene Zeitalter, text Tilman Osterwald, et al.; Wurttembergischer Kunstverein. Stuttgart (cat.)<br />
Formica & Design: From the Counter Top to High Art, Susan Grant Lewin, ed.; Rizzoli<br />
Les Couleurs de L’Argent, text Jean-Michel Ribettes, Jacques Foucart, Michel Nuridsany; Edition du Musee de la<br />
Poste, Paris (cat.)<br />
History as Fiction, text Dan Cameron; Meyers/Bloom Gallery, Los Angeles (cat.)<br />
Joel Benzakin, Benjamin Buchloh, Germano Celant, John Knight, Dirk Snauwaert, <strong>Haim</strong> <strong>Steinbach</strong>; Les Expositions du<br />
Palais des Beaux Arts; Imschoot, Uitgevers, Bruxelles (cat.)<br />
Just what is it that makes today’s homes so different, so appealing?, text Dan Cameron; The Hyde Collection, Glens<br />
Falls, NY (cat.)<br />
La Sculpture Contemporaine après 1970, text Daniel Dobbels, Pierre Cabanne, Siegfried Gohr, Demetrio Paparoni,<br />
Carter Ratcliff, Caroline Smulders; Fondation Daniel Templon, Musee Temporaire, Frejus (cat.)<br />
Love Ball 2: The Crowning Glory, DIFFA (Design Industries Foundation for AIDS), <strong>New</strong> <strong>York</strong>. (auction cat.)<br />
Metropolis, text Christos M. Joachimides, Norman Rosenthal, et al.; Rizzoli, <strong>New</strong> <strong>York</strong>. (cat.)<br />
<strong>New</strong> Art: An International Survey, Andreas Papadakis, Clare Farrow, & Nicola Hodges, eds.; Rizzoli, N.Y., pp. 67,<br />
145.<br />
Objects for the Ideal Home / The Legacy of Pop Art, Serpentine Gallery, London (cat.)<br />
Power: Its Myths and Mores in American Art l96l-l99l, text Holliday T. Day, et al.; Indianapolis Museum of Art, in<br />
cooperation with Indiana University Press, pp. 14, 20, 26, 81, 141, 151 art repro. pp. 81 -82 (cat.)<br />
Praterinsel: Ausstellung der Ateliergemeinschaft Praterinsel, text Christoph Wiedermann, Dietmar Kuhne, Heinrich<br />
Habel; Praterinsel, Munich (cat.)<br />
Quindicesima Biennale Internazionale del Bronzetto Piccola Scultura Padova 1991, text Pierre Restany, Renato Barilli,<br />
Giorgio Segato, et al.; Electa, Milan (cat.)<br />
The Reenchantment of Art, Suzi Gablik; Thames and Hudson, <strong>New</strong> <strong>York</strong> and London.<br />
1992 100% Make-Up, Alessandro Mendini, ed.;<br />
American Mythologies, Marshall Blonsky; Oxford Univ. Press., <strong>New</strong> <strong>York</strong>, Oxford pp.464-5<br />
Art in Theory 1900-1990: An Anthology of Changing Ideas, edited by Charles Harrison and Paul Wood; Blackwell<br />
Publishers, Cambridge (reprint of “Ashley Bickerton, Jeff Koons, Peter Halley, <strong>Haim</strong> <strong>Steinbach</strong>:From Criticism to<br />
Complicity,” Peter Nagy, moderator) pp. 1080-1083<br />
Art Meets Ads, text Jürgen Harten and Michael Schirner; Edition Cantz, Stuttgart, art repro. plate 73<br />
The Boundary Rider: 9th Biennale of Sydney, text Anthony Bond, Stephen Bann, Ian Burn, John Welchman, pp. 222-<br />
223, art repro. 223 (cat.)<br />
Collage, Assemblage, and the Found Object, Diane Waldman; Harry N. Abrams Inc., <strong>New</strong> <strong>York</strong>, pg. 314-315.<br />
documenta 9, Die Magische Dose, The Staatlische Museen, Neue Galerie Kassel, Edition Cantz, Stuttgart (cat.)<br />
Documenta IX, Cantz, ed.; Kassel, Volumn 1, text Jan Hoet, Denys Zacharopoulos, Luigi Tazzi, et. al, pp. 223-224<br />
(cat.)<br />
Documenta IX, Cantz, ed.; Kassel, Volumn 3, art repro. pp. 522-532 (cat.)
Fundacao de Serralves, A Portugese Museum, text Bernardo Pinto de Almeida, Fernando Pernes, Joao Pinharanda.<br />
(cat.)<br />
Guggenheim Museum A to Z , text Germano Celant, Cornelia Lauf, et. al; The Solomon R. Guggenheim Foundation,<br />
<strong>New</strong> <strong>York</strong>, p. 252, art repro. p. 253<br />
Kitsch-Art, Gregory Fuller; DuMont Buchverlag, Koln, pp 23, 25, 26, 27, 83, 92, 161, 164, 168, 187, color plate #15,<br />
b&w plate #45, 46, 47.<br />
La Collection: tableau inaugural, text Marcel Brisebois, Manon Blanchette, et al.; Musee d’Art Contemporain de<br />
Montreal (cat.)<br />
Les Artistes Associes de la Neo-Geo, David Perreau, in C’est Pas la Fin du Monde, Centre d’histoire de l’art<br />
Lexicon der Kunst, Ferdinand Schmatz and Heimo Zobernig; Edition Patricia Schwartz, Stuttgart<br />
Materialien zur Documenta IX: Ein Reader für Unterricht und Studium, Werner Stehr and Johannes Kirschenmann;<br />
Editons Cantz, Stuttgart<br />
no rocks allowed, <strong>Haim</strong> <strong>Steinbach</strong>; Witte de With Center for Contemporary Art, Rotterdam (cat.)<br />
Pop Art: An International Perspective, Marco Livingstone, ed.; Rizzoli, <strong>New</strong> <strong>York</strong>, pp. 20, 2l, 264.(cat.)<br />
Psycho, text Christian Leigh, Octavio Zaya, Donald Kuspit; Kunsthalle, <strong>New</strong> <strong>York</strong>, 1992, (cat.)<br />
Refusing to Surface: Art and the Transfiguration of the Ordinary, text Nicholas de Ville, Dick Hebdige and Lewis<br />
Johnson John Hansard Gallery, The University, Southampton, Great Britain (cat.)<br />
Theoretically Yours, text Patricia Collins, Richard Millazzo; Autonomous Region of the Aosta Valley Department<br />
for Education (cat.)<br />
Translation, text Kim Levin, Milada Slizinska; Centre for Contemporary Art, Ujadowski Castle, Warsaw; pp. 39-42,<br />
art repro. pp. 42-44 (cat.)<br />
TROPISMES, text Dan Cameron; Collecio d’Art Contemporani Fundacio “la Caixa," (cat.)<br />
Witte de With: The Lectures 1992, Chris Dercon, Jeff Wall, et. al.,Witte de With, Rotterdam, p. 66 (cat.)<br />
Yvon Lambert collectionne, text Dominique Bozo, Joelle Pijaudier; Musee d’Art Communaute Urbaine de Lille,<br />
Villeneuve d’Ascq, Musee des Beaux-Arts de Tourcoing. (cat.)<br />
1993 Binocular: Focusing, Materials, Histories, Ewen McDonald and Julia Engberg, eds.; Möet & Chandon Contemporary<br />
Edition, Sydney; featuring “Time Signatures; or <strong>Haim</strong> <strong>Steinbach</strong>’s Still Life,” Trevor Smith, pp. 138-153<br />
(illustrated)<br />
capcMusée, Paul Ardenne; Editions du Regard, Paris, pp.132-138<br />
C’est pas la fin du monde: un point de vue sur l’art des annees 80, Centre d’histoire de l’art contemporain, Rennes<br />
Collection pour une region, “Lieux de Fictions”: Richard Baquié, Jedermann N.A., Jeff Koons, Rombouts & Droste, <strong>Haim</strong><br />
<strong>Steinbach</strong>, text Gloria Picazo; CAPC Musee d’Art Contemporain de Bordeaux pp. 49-55 (cat.)<br />
Documentario 2 (cat.-Territorio Italiano)<br />
Fall From Fashion, The Aldrich Museum of Contemporary Art, text Richard Martin, pp. 7-8, art repro. p. 61 (cat.)<br />
The Foreign / The Guest, text Martin Sturm, Elisabeth Madlener; Offenes Kulturhaus, Turia & Kant, Vienna (cat.)<br />
Gent te Gast: de Keuze van Jan Hoet uit de collectie van het Museum van Hedendaagse Kunst in Gent (cat.)<br />
I Am The Enunciator, text Christian Leigh (cat.)<br />
International Index of Multiples: from Duchamp to the Present, Spiral/Wacoal Art Center, Tokyo, and Verlag der<br />
Buchhandlung Walther Konig, Koln<br />
La Biennale di Venezia: XLV Esposizione Internazionale d’Arte, Marsilio Editori, Venice p. 944<br />
L’art du XXe Siecle, Jean-Philippe Breuille; Larousse, Paris, p.794, art repro. p. 794<br />
L’Ivresse du Reel: L-Objet dans l’art du XXè` siècle, text Guy Tosatto, Elizabeth Lebovici, Pierre Restany, et. al; Carré<br />
a’Art, Nimes, p. 20, 190; art repro. pp. 153-154 (cat.)<br />
Modernism in Dispute, Art since the Forties, Paul Wood, Francis Frascina, Johnathan Harris, Charles Harrison; Yale<br />
University Press, <strong>New</strong> Haven, pp. 241, 243, art repro. p. 243<br />
Mike Kelley: Catholic Tastes, text Elisabeth Sussman et. al.; Whitney Museum of American Art, <strong>New</strong> <strong>York</strong>, p. 27<br />
Osmosis: Ettore Spalleti & <strong>Haim</strong> <strong>Steinbach</strong>, text Germano Celant, Thomas Krens, Nancy Spector; Guggenheim<br />
Museum, <strong>New</strong> <strong>York</strong> (cat.)<br />
Signs of Psyche in Modern and Post-Modern Art, text Donald Kuspit; Cambridge University Press, Cambridge, pp.<br />
149, 150, 278, art repro. p. 150<br />
Space Invaders: Issues of Presentation, Context and Meaning in Contemporary Art, Nicholas de Ville and Stephen<br />
Foster, eds.; John Hansard Gallery, University of Southampton, England<br />
Jerome Schlomoff: Portraits text Francois Bon and Jean-Louis Froment; CAPC Musee d’Art Contemporain de Bordeaux,<br />
portrait in exhibition, p. 70 (cat.)<br />
Viaggio verso Citera, text Achille Bonito Oliva, Francesca Pasini, Fernanda Pivano, et al.; XLV Biennale di Venizia,<br />
Zerynthia Associazione per l’Arte Contemporanea, Edizioni Marpesia, Venice, p. 11, art repro. p. 20-21 (cat.)<br />
Wall Works, text Jörg Schellman; Edition Schellmann, Cologne-<strong>New</strong> <strong>York</strong>, art repro. p. 101<br />
1994 Acquisitions, 19<strong>85</strong>-1993, text Wim Beeren, Rini Dippel, Dorine Mignot, et. al.; Stedelijk Museum, Amsterdam, art<br />
repro. p.78 (cat.)<br />
Arce de Noé/Noah’s Ark, text Alexandre Melo, Marga Paz, Fernando Pernes, et. al.; Funaçao de Serralves, Porto, pp<br />
144-147 (text: joy of tapping our feet.), art repro. pp. 74-75 (cat.)<br />
Comentario Sobre Europa 1994, text Lorand Hegyi, Erhard Busek, Arpard Göncz, et. al; Sala Parpalló, Diputacion de<br />
Valencia, art repro. pp. 112-115 (cat.)
Das Jahrhundert des Multiple: von Duchamp bis zur Gegenwart, text Zdenek Felix, Stefan Germer, Claus Pias,<br />
Katerina Vastella; Deichtorhallen Hamburg, Oktagon Verlag pp. 69, 227 (cat.)<br />
De A a Z les Centres d’art Contemporain, text Eric Amouroux, Paul Ardenne, Thierry de Duve, et. al.;<br />
DCA/Flammarion, France, art repro. p. 98<br />
Don’t Look Now, text Joshua Decter; Thread Waxing Space, <strong>New</strong> <strong>York</strong>, p.13 (cat.)<br />
Entre la PRESENCIA y la REPRESENTACION - the Collection of the “La Caixa”Contemporary Art Foundation, p. 37<br />
(cat.)<br />
Kommentar zu Europa, text Lorand Hegyi, et al.; Museum Moderner Kunst Stiftung Ludwig, Vienna, pp. 239, 241<br />
(cat.)<br />
Même si c’est la nuit, capcMusee d’art contemporain, Bordeaux (brochure) p.15<br />
The Music Box Project, text Claudia Gould and Susan Stewart; published by on the table, inc., <strong>New</strong> <strong>York</strong> pp. 26-27,<br />
art repro. p.80 (cat.)<br />
Installation Art, Nicolas de Oliveira, Nicola Oxley, and Michael Petry, eds.; Smithsonian Institute Press, pp.125,<br />
154<br />
Opera Prima, text Giacinto Di Pietroantonio, Francesco Bonami, Victor Misiano; Trevi Flash Art Museum of<br />
Contemporary Art, Trevi (cat.)<br />
Portraits de femmes, Chateau Notre-Dame des Fleurs; Vence, art repro. p. 64 (cat.)<br />
Private Mix, 1, Galerie Eigen + Art, Berlin (cat.)<br />
Public Art Issues #3 – Urban Paradise: Gardens in the City, text Tom Eccles, Patricia Phillips, et. al.; Public Art Fund,<br />
<strong>New</strong> <strong>York</strong><br />
Tradition and Invention: Contemporary Artists Interpret the Japanese Garden, text Susan Sontag, Nam June Paik,<br />
Robert Rauschenberg, et. al; AmFAR International, art repro. plates 22-24<br />
1995 art editions 1, Edition Schellman, Munich, art repro., pp. 299-300<br />
The Art of Today, text Brandon Taylor; Everyman Art Library, London, pp. 88, 89 - 90, 154, art repro. p. 88<br />
Art Since 1940: Strategies of Being, text Johnathan Fineberg; Harry N. Abrams Inc. Publishers, <strong>New</strong> <strong>York</strong>, p. 459, art<br />
repro. p. 460<br />
Avant Garde and After: Rethinking Art Now, text Brandon Taylor; Harry N. Abrams Inc., <strong>New</strong> <strong>York</strong>, pp. 88, 89 - 90,<br />
art repro. p. 88<br />
Corpus delicti, text Jan Hoet, Giorgio Verzotti, Steven Jacobs: Museum van Hadendaagse Kunst, Gent, art repro. p.<br />
158 (cat.)<br />
Dictionary of International Contemporary Artists, Giancarlo Politi, ed.; Flash Art Books for Giancarlo Politi Editore,<br />
Italy, pp. 310-311, art repro. p. 310<br />
Elvis + Marilyn: 2 X Immortal, text David Halberstam, Wendy McDaris, Kate Millet, et. al; Rizzoli, <strong>New</strong> <strong>York</strong>, art<br />
repro. p. 123 (cat.)<br />
Fuori Uso ‘95, Projects: Caravanseray of Contemporary Art or Why the Egyptians were Cubists?, eds. Cesare Manzo and<br />
Giacinto di Pietroantonio; Arte Nova, Pescara, illus pp. 84 - <strong>85</strong><br />
<strong>Haim</strong> <strong>Steinbach</strong>, text Joshua Decter, Jean Pierre Dubost, Martin Prinzhorn, Trevor Smith et. al; Ritter Verlag,<br />
Klagenfurt Austria, (cat.)<br />
<strong>Haim</strong> <strong>Steinbach</strong>, text Ida Gianelli, Mario Perniola, Lynn Tillman, Giorgio Verzotti; Castello di Rivoli and Edizioni<br />
Charta Milan, (cat.)<br />
It’s Only Rock and Roll, text David Rubin, Stacy Sims, Deborah Harry; Prestel-Verlag, Munich/<strong>New</strong> <strong>York</strong>, art<br />
repro. p. 133 (cat.)<br />
Kunst: Brauch, eds. Ulrich Mellitzer and Anselm Wagner; Galerie 5020, Salzburg, art repro. pp. 27-28 (cat.)<br />
Lier En Boog #12: The Intellectual Conscience of Art, text <strong>Haim</strong> <strong>Steinbach</strong> et al; Lier En Boog, Amsterdam, p. 120<br />
L'objet, text François Bazzoli, Lionel Bovier, Jean Cambefort, et. al; Villa du Parc, Annemasse, art repro. p. 104<br />
(cat.)<br />
Marilyn Monroe: The Life, The Myth, eds. Gianni Mercurio and Stefano Petricca; Rizzoli, RCS Libri & Grandi Opere,<br />
Rome, art repro. p. 243 (cat.)<br />
Still Leben, text Görel Cavalli-Björkman, Bo Nilsson; National Museum, Stockholm, p. 252, art repro. p. 134 (cat.)<br />
Temporarily Possesed: The Semi-Permanent Collection, Brian Goldfarb and Mimi Young, eds.; The <strong>New</strong> Museum of<br />
Contempoary Art, <strong>New</strong> <strong>York</strong>, pp. 95, 175 (cat.)<br />
Territorio Italiano, Giacinto di Pietroantonio, ed.; Giacinto di Pietroantonio Productions, Milan, p. 44<br />
Translation, text Kim Levin, Milada Slizinska; Centre for Contemporary Art, Ujadowski Castle, Warsaw, 1995; art<br />
repro. pp. 44 (cat.)<br />
Who’s Who in American Art 1995-96, R.R. Bowker, <strong>New</strong> Providence, NJ, p. 1164<br />
1996 Arte Contemporanea: La linea del Modello, Arte come progetto del mondo, Guinti , 1996 p. 640, pp. 650-651<br />
Art of the Postmodern Era, text Irving Sandler; Harper Collins, <strong>New</strong> <strong>York</strong> , NY, pp. 482 - 483, 491 - 493, 500, 507,<br />
518, 528; art repro. 492<br />
Art on the Edge and Over, text Linda Weintraub; Art Insights, Inc., Litchfield, CT, pp. 134-139, art repro. pp. 27, 134-<br />
135, 138.<br />
Body Language, text Judith Page and Adam Strauss; Museum of Fine Art, Florida State University, Tallahassee, pp.<br />
15, 17, art repro. p. 15 (cat.)<br />
Collezionismo a Torino, text Ida Gianelli; Castello di Rivoli and Edizioni Charta, Milano, pp. 17, 21 (cat.)
Everything That’s Interesting is <strong>New</strong>, text Jeffrey Deitch, et al.; Deste Foundation for Contemporary Art, Athens and<br />
Cantz Verlag, Ostfildern, art repro. pp. 254-257, text by <strong>Haim</strong> <strong>Steinbach</strong> p. 256 (cat.)<br />
Everything That’s Interesting is <strong>New</strong>, text Jeffrey Deitch; The Deste Foundation for Contemporary Art and ART<br />
Magazine Publications, Ltd., Athens, p. 30, illus p. 26 (cahier)<br />
Fuori Uso ‘95; Caravanserraglio Arte Contemporanea, text Giacinto Di Pietroantonio, Gilda Williams, Antonella<br />
Marino, et. al.; Umberto Sala Editore, p.92, art repro. pp. 92, 97, 138<br />
<strong>Haim</strong> <strong>Steinbach</strong>, text Bruce Ferguson, Shirley Madill, Loretta Yarlow; Art Gallery of <strong>York</strong> University, Toronto and<br />
the Winnipeg Art Gallery, Winnipeg (cahier)<br />
Handmade Readymades, text Thomas Weaver; Hunter College of The City University of <strong>New</strong> <strong>York</strong>, pp. 5-6 (cat.)<br />
Lier en Boog, Volume 11: The Intellectual Conscience of Art, eds. Annette W. Balkema and Henk Slager; Editions<br />
Rodopi, B.V, Amsterdam/Atlanta, text by <strong>Haim</strong> <strong>Steinbach</strong> p. 52<br />
Le Livre, Du Frac Collection Acquitaine (Panorama de l”Art d’aujourd’hui), Frac Collection Acquitaine<br />
Nudo & Crudo, text Claudia Gian Ferrari and Manlio Brusatin; Edizioni Charta, Milan, art repro. p. 63 (cat.)<br />
Panoramas; 1981-1996, la collection du Frac Bretagne, Grand Hotel du Golf et des Panoramas, St. Briac, Bretagne p.<br />
388-89 (cat.)<br />
Passions Privées; Collections particulières d’art moderne et contemporain en France, Musée d’Art moderne de la Ville De<br />
Paris, illus p. 680 (cat.)<br />
Petit Dictionnaire des Artistes Contemporains, text Pascale Le Thorel-Davidot; Bordas, Paris, art repro., p. 244<br />
The Return of the Real, text Hal Foster; The MIT Press, Cambridge, pp. 107, 109-116, art repro. p. 113<br />
Thinking About Exhibitions, text Reesa Greenberg, Bruce Ferguson and Sandy Nairne; Routledge, London, pp. 278-<br />
279, 2<strong>85</strong><br />
The 20th Century Art Book, Phaidon Press Limited, London, art repro., p. 441<br />
1997 Art L’Âge Contemporain, text Paul Ardenne; Edition du Regard, pp. 216, 219, 229<br />
Art Since 1960, text Michael Archer; Thames and Hudson, London, art repro., pp. 171-172<br />
Citta Natura, text Carolyn Christov-Bakargiev, Maria Grazia Tolomeo, Ludovico Pratesi, et. al.; Fratelli Palombi<br />
Editori, Rome, art repro., pp. 19, 179-181 (cat.)<br />
Colección de Arte Contemporáneo, text Nimfa Bisbe, Juliá Guillamon, Edita Fundación “la Caixa, Barcelona; art<br />
repro. (cahier)<br />
Dramatically Different, text Eric Troncy, Yves Aupetitallot, Alessandra Galasso; Centre National D’Art<br />
Contemporain De Grenoble, 1997, pp.18, 23, 25, 45, 54 art repro. (cat.)<br />
<strong>Haim</strong> <strong>Steinbach</strong>, text Eva Badura-Triska, Bruce Ferguson, Michel Gauthier, et. al.; Museum Moderner Kunst<br />
Stiftung Ludwig, Vienna (cat.)<br />
Kunst..Arbeit, text Stephan Schmidt-Wulffen, Melitta Kliege, Matthais Michalka, et. al.; Sudwestdeutsche<br />
Landesbank, Stuttgart, art repro., pp. 166-167 (cat.)<br />
Kunst: die Weltgeschichte, texts Enrico Annoscia, Marco Biscione, Rossana Bossaglia, et. al.; DuMont Buchverlag,<br />
Cologne, art repro., p. 665<br />
KunstlerInnen; 50 Gespräche, Edelbert Köb, ed.; Kunsthaus Bregenz and Walther König, Köln, interview with <strong>Haim</strong><br />
<strong>Steinbach</strong> pp. 218 - 223<br />
KunstlerInnen, text Edelbert Köb; Kunsthaus Bregenz, Bregenz, art repro., p. 21 (cahier)<br />
Kunstlerlexicon - von die Antike bis zu Gegenwart; DuMont Buchverlag, Cologne<br />
La Biennale di Venezia, XLVII Esposizione Internazionale d’Arte, General Catalogue; text Germano Celant, Nancy<br />
Spector, Giorgio Verzotti, et. al.; La Biennale di Venezia, Venice, art repro. , pp. 246-249 (cat.)<br />
La Biennale di Venezia, XLVII Esposizione Internazionale d’Arte, Futuro, Presente, Passato; text Germano Celant, et. al.;<br />
La Biennale di Venezia, Venice, pp. LXXXI-LXXXII, 580, art repro. pp. 581 - 587 (cat.)<br />
Magie der Zahl, text Karin von Maur, Ina Cozen, Dietmar Guderian, et. al.; Staatsgalerie Stuttgart, illus p. 166 (cat.)<br />
Movements in art since 1945, text Edward Lucie-Smith; Thames and Hudson, art repro., p. 225<br />
Odisseo (Ulysses), Stadio Della Vittoria, BARI; curated by Giacinto di Pietroantonio art repro., pp. 92-95 (cat.)<br />
The Thames and Hudson Dictionary of Art and Artists, Thames and Hudson, London<br />
1998 80 Artistes autour du Mondial,text Nicolas Bourriaud, Gilles de Bure, Henri-François Debailleux, Philippe Labro,<br />
Paul Lombard, Michel Nuridsany, Pierre Restany; Galerie Enrico Navarra, Paris, pp 152, art repro. (cat.)<br />
Anos 80: The Eighties, text Maria De Corral, Alexandre Melo, Dan Cameron, José Gil; Cultureguest, Lisbon, pp. 19,<br />
157, art repro. plates 82 and 83 (cat.)<br />
Art: A World History, Dorling Kindersley Limited, London, pp. 664-665 art repro., p. 665<br />
Artist/Author: Contemporary Artists’ Books, text Cornelia Lauf, Clive Phillpot, et. al., Distributed Art Publishers,<br />
<strong>New</strong> <strong>York</strong> and The American Federation of the Arts, <strong>New</strong> <strong>York</strong>, pp. 69, 75, 152, 158, art repro. pp 150 (cat.)<br />
Art of the 20th Century, ed. by Ingo F. Walther, text by Karl Ruhrberg, Manfred Schenburger, Christiane Fricke,<br />
Klaus Hennef; Tashen, Köln, pp. 570-571, art repro. p.571<br />
Art Editions 2, Edition Schellmann, art repro. plates 392, 393, 394<br />
Conceptual Art, text Tony Godfrey; Phaidon Press Limited, London, pp. 394, 395, art repro. p. 393<br />
Ensemble Moderne, text Thaddeus Ropac and Günter Salzmann; Galerie Thaddeus Ropac, Salzburg and<br />
Distributed Art Publishers, NY, p. 182, art repro. p. 134 (cat.)<br />
Foundation for the arts, Sigmund Freud-Museum Vienna, Volume 2, text Inge Scholz-Strasser, Joseph Kosuth,<br />
Elisabeth Schlebrügge, August Ruhs, Foundation for the Arts, Sigmund Freud-Museum Vienna, p. 36, art repro.<br />
p. 20 (cat.)
<strong>Haim</strong> <strong>Steinbach</strong>: Rossini at 4:00 a.m., text Franca Mancini, Paolo Fabbri, Renato Barilli, Achille Bonito Oliva, et. al.;<br />
Galleria di Franca Mancini, Pesaro (cat.)<br />
Innerscapes, ed. by Maurizio Pellegrin, Trieste Contemporenea, pp. 267-271<br />
Kunst ohne Unikat; Edition Artelier, Graz 19<strong>85</strong>-1998; text Peter Weibel, Friedrich Tietjen, et. al., Verlag der<br />
Buchhandlung Walther König, Köln (cat.)<br />
Material Perfection; Minimal Art and Its Aftermath; text Kerry Stokes and John Stringer; Lawrence Wilson Art<br />
Gallery, University of Western Australia, Perth, art repro., pp. 40-41 (cat.)<br />
Oxford History of Art — Sculpture Since 1945; text Andrew Causey; Oxford University Press, Oxford, pp. 229, 241,<br />
246 - 247, 256, art repro. p. 247<br />
Passage: Gideon Gechtman, Bertrand Lavier, <strong>Haim</strong> <strong>Steinbach</strong>; text Lorand Hegyi, Nira Itzhaki; Checlouche Gallery for<br />
Contemporary Art, Tel Aviv, English text pp. 5, 6-9, 25, Hebrew text pp. 5, 6, 22-23, art repro. pp 4 - 13, 33 (cat.)<br />
René Magritte and the contemporary art; text Willy Van den Bussche, et. al.; Museum voor Moderne Kunst,<br />
Oostende, p. 186, art repro. pp. 187 - 189 (cat.)<br />
1999 5000 Artists Return to Artists Space: 25 Years, ed. Claudia Gould, Valerie Smith, Artists Space, NY, pp.107, 111, 157,<br />
176, 267 art repro. p 111<br />
Art at the Turn of the Millenium, ed. by Burkhard Riemschneider, Uta Grosenick; Taschen, art repro., pp. 471-481<br />
bibliomania, ed. and printed by Simon Morris and Helen Sacoor, pp. 79-101, art repro. p 79 (cat.)<br />
Contemporary Art During the Art Market Boom, text Max Hollein; Böhlau, Vienna, art repro.<br />
Conjunctions 32: Eye to Eye, Writers and Artists, text “Madame Realism Looks for Relief,” by Lynne Tillman, <strong>Haim</strong><br />
<strong>Steinbach</strong>, Bradford Morrow, ed., Bard College, Annandale-on-Hudson, NY, pp. 197-207, art repro. pp. 198, 200,<br />
202, 204, 205, 207<br />
Die Farben Schwarz, text Thomas Zaunschirm, et.al. Landesmuseum Joanneum, Graz, art repro. p.74 (cat.)<br />
<strong>Haim</strong> <strong>Steinbach</strong>: Untitled (3 tents); text Zdenka Badovinac, Moderna galerija Ljubljana, Slovenia, (cat.)<br />
Heaven; ed. Doreet LeVitte Harten, Cantz Verlag, Ostfildern, Germnay, pp. 151-152, art. repro. p. 153 (cat.)<br />
KunstSammeln, ed. by Gotz Adriani, Museum Fur Neue Kunst,.Karlsruhe and Hatje Cantz, 1999. art repro. p. 154<br />
La casa, il corpo, il cuore; Konstruktion er Identitäten; text Lóránd Hegyi, Henry Meyric Hughes, Hanno Millesi, et.<br />
al., Museum moderner Kunst Stiftung Ludwig, Vienna, pp. 41-46, art repro.<br />
Mike Kelley, text John C. Welchman, Isabelle Graw, Anthoiny Vidler, Phaidon Press, London, pp. 67, 71, art repro.<br />
p. 71<br />
Once Upon a Time in America; The Mottahedan Collection, text Mohammad Mottahedan, Tony Godfrey, Karsten<br />
Schubert, pp. 8-13, pp. 56-57 (art repro. ) Christie’s Books Ltd., London<br />
Originale echt falsch; text Thomas Deecke, Mike Bidlo, Ernst Caramelle, et. al.; Neues Museum Weserburg, Bremen,<br />
art repro. pp. 140-141 (cat.)<br />
S.M.A.K, The Collection; text Jan Hoet & Laurens De Keyzer, Steven Jacobs, Els Roelandt; Ludion, Ghent -<br />
Amsterdam, for the Stedelijk Museum voor Actuele Kunst, Ghent, pp. 184. 186, 197, art repro. p. 197 (cat.)<br />
Urban Mythologies; The Bronx RepresentedSince the 1960’s, text Trica Rose, Lydia Yee, et.al.; The Bronx Museum for<br />
the Arts, Bronx, <strong>New</strong> <strong>York</strong>, p. 107 (cat.)<br />
Visual Artists Salute Harvey Lichtenstein; <strong>Brooklyn</strong> Academy of Music, <strong>New</strong> <strong>York</strong>, art repro. (cat.)<br />
Wall Works, text by Uwe M. Schneede, David Rimanelli, ed. by Jorg Schellmann; Edition Schellmann, Munich, pp.<br />
196 - 201, art repro. pp. 199-201 (cat.)<br />
Zeitgenössiche Kunst und der Kunstmarktboom, text Max Hollein; Böhlau Verlag, Vienna, pp. 69-73, art repro. p. 92<br />
2000 Around 1984: A Look At Art In The Eighties, ed. by Anthony Huberman; P.S.1, Queens, statement by <strong>Haim</strong><br />
<strong>Steinbach</strong>, p. 1, art repro. p.4 (cahier)<br />
Biennale of Sydney 2000, text Guido Belgiorno-Nettis, David Malouf, et. al; Biennale of Sydney, Australia, art repro.<br />
p. 184<br />
Calendar 2000; Art for Art’s Sake, <strong>New</strong> <strong>York</strong> and the Center for Curatorial Studies, Bard College, Annandale-on-<br />
Hudson, <strong>New</strong> <strong>York</strong>, (calendar project in connection with exhibition), art repro. May section<br />
Catalogo de la Coleccion de Arte Contemporaneo Fundacion “la Caixa,” text Jose Vilarasau, Maria de Corral, Nimfa<br />
Bisbe; Fundacion “la Caixa” Diagonal, Barcelona, p. 144, art repro (cat.)<br />
Design Basics, text David A. Lauer, Stephen Pentak; Harcourt Brace College Publishers, Orlando, p. <strong>85</strong>, with art<br />
repro.<br />
Dinge in der Kunst des XX. Jahrhunderts, text Christoph Vitali, Axel Hacke, Stephanie Rosenthal, et. al; Haus der<br />
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 />
<strong>Haim</strong> <strong>Steinbach</strong>, text Francesca Archibugi, Giacinto Di Pietrantonio, Dimitris Kozaris, Marco Senaldi, Angela<br />
Vettese; exhibition catalog for Fondazione Antonio Ratti, Milano, Charta (cat.)<br />
<strong>Haim</strong> <strong>Steinbach</strong>: North East South West, text Stephanie Rosenthal, Alexander Tolnay, Valentin Rauer, Bruce<br />
Ferguson; exhibition catalogue for Haus der Kunst, Munich; Hatje Cantz Verlag Ostfildern-Ruit (cat.)<br />
Konsum als Religion?: Uber die Wiederverzauberung der Welt, text Mattias Sellmann, Wolfgang Isenberg, et.al; B.<br />
Kuhlen Verlag, Monchengladbach, art repro. p. 58<br />
L’assenza Invadente del Divino, text Alberto Abruzzese, Giulio Giorello, Franco Speroni, Luisa Valeriani, Edizione<br />
de Luca, Italy, pp. 19-21, art repro. pp. 30-31 (cat.)<br />
Live Free or Die, collected Writings 19<strong>85</strong>-1999, Robert Nickas, Shopping with <strong>Haim</strong> <strong>Steinbach</strong>, les presses du reel, pp.<br />
32-42
The Madonna of the Future, Essays in a Pluralistic World, Arthur C. Danto pp. xxix-xxx<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. (cat.)<br />
Over the Edges, Stedelijik Museum voor Actuele Kunst, Gent, art repro. p. 50 (cat.)<br />
Partage D’ Exotismes: 5 th Biennale D’ Art Contemporain De Lyon, text Thierry Prat, Thierry Raspail, Jean-Hubert<br />
Martin, et. al; Reunion des Musees Nationaux, art repro. Vol. 2, pp. 79-80<br />
Rendez-Vous: Collection Lambert, text Catherine Tasca, Marie-Josee Roig, Jean-Jacques Aillagon, et. al; Actes Sud,<br />
France, art repro. p. 267<br />
Castelli in aria: Art in Naples at the End of the Millennium, Umberto Allemandi & C., art repro. p. 57<br />
2001 Armando Testa, text Ida Gianelli, <strong>Haim</strong> <strong>Steinbach</strong>, et al; Edition Charta, Milan, pp. 76-79, art repro. p. 77 (cat.)<br />
la Storia dell’ ARTE, text Alfonso De Giorgis, Maria Carla Prette, Giunti, Firenze, art repro.,p. 258 (cat.)<br />
Markers, Projective, Doron Polak; art repro., p. 180 (cat.)<br />
Monets Vermächtnis, text Christoph Heinrich, Ludger Derenthal, Martina Fuchs, et.al. Hatje Kantz Verlag,<br />
Germany, art repro. p. 167<br />
Perfektimperfekt, text Stephan Schmidt-Wulffen, modo, Germany, pp. 152, 154, 163, 164, art repro., p.156<br />
Pictures, Patents, Monkeys, and More… On Collecting, text Ingrid Schaffner, Fred Wilson, Werner Muensterberger,<br />
Independent Curators International, <strong>New</strong> <strong>York</strong>, art repro., p.11 (cat.)<br />
The Overexcited Body; Arte e Sport nella Societe’ Contemporanea, text Vladimir Petrovsky, Sergio Scalpelli, Danilo<br />
Santos de Miranda, Adelina von Furstenberg, Yorgos Tzirtzilakis, Art for the World, Geneve, art repro., pp. 90-91<br />
2002 Art After Appropriation; Essays on Art in the 1990s, text John C. Welchman, G+B Arts International, Canada, pp. 19,<br />
39,42-433 59, 228 art repro. p. 44<br />
bibliomania 2000/2001, ed. and printed by Simon Morris and individual contributors, pp. 507-525, art repro. (cat.)<br />
Catalogue Raisonné Collection of Contemporary Art Fundación “la Caixa,” text Carles Guerra et. al., Gràfiques Iberia,<br />
Barcelona, Vol. 2, pp. 627-629, art repro. p. 628<br />
Conceptes de L’Espai, text Rosa Maria Malet, Lóránd Hegyi, Jose Jiménez, pp. 11-15, 115-116 art repro. p. 64<br />
From Pop to Now, text Charles Ashley Stainback and Rachl Haidu, D.A.P., p. 134, art. repro. p. 135<br />
Le Livre du Frac-Collection Aquitaine Panorama de l’art d’aujourd’hui, text Guy Amsellem, Hervé Legros, et. al., Le<br />
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 Rodrigues Widholm, et.al.,<br />
Museum of Contemporary Art, Chicago, art repro. pp. 188-189<br />
NON, <strong>Haim</strong> <strong>Steinbach</strong>, artist’s project, One Star Press, France<br />
Perfektimperfekt, text Stephan Schmidt- Wulffen, modo, Germany, pp. 153, 154, 163, 164 art repro. p. 163<br />
Shopping, A Century of Art and Consumer Culure; edited by Max Hollein and Christopher Grunenberg, Hatje Cantz<br />
Publishers, Germany, art repro., pp. 208-209<br />
This Is Not It, text Lynne Tillman, D.A.P., <strong>New</strong> <strong>York</strong>, art repro. p. 196<br />
2003 ∞ NON, <strong>Haim</strong> <strong>Steinbach</strong>, artist’s project, Charta, Milano<br />
Accessoire Maximalismus, text Dirk Luckow, et.al., Kunsthalle zu Kiel der Christian-Albrechts-Universität,<br />
Germany, art repro. pp. 90-91<br />
American Art Since 1945, text David Joselit, Thames & Hudson World of Art, <strong>New</strong> <strong>York</strong> pp. 207-8, p. 215<br />
Art Since 1960; <strong>New</strong> Edition, text Michael Archer, Thames & Hudson world of art, London, pp. 166-168, 184, 186<br />
Castello di Rivoli Museum of Contemporary Art; The Castle: The Collection, edited by Ida Gianelli and<br />
Der Standard, May 13; more or less, pp. 6-9<br />
Marcella Beccaria, Umberto Allemandi & C., Turin, pp. 338-343<br />
Concrete Art: Ein Projekt von Graz, Graz 2003 Kulturhauptstadt Europas Organisations GmbH, Kunstlertexte,<br />
Edelbert Köb. Kunst Bundeskanzleramt.<br />
DaimlerChrysler Collection, text Rachel Haidu et.al., DaimlerChrysler AG, Berlin, art repro. p. 44-45<br />
Grazie, edited by Jan Hoet, Stiftung Schloss Dyck, Zentrum für Gartenkunst und Landschaftsarchitektur,<br />
Jüchen, art repro. pp. 146-153, p. 156, 173<br />
Je Veux, edited by Christophe Boutin, One Star Press, France, art repro., p. 35<br />
Or, artist’s book by <strong>Haim</strong> <strong>Steinbach</strong>, Fama & Fortune, Vienna<br />
Unpackaging Art of the 1980’s, text Alison Pearlman, University of Chicago Press, Chicago<br />
2004 Art and Advertising,“From Capitalist Realism to Surrealism (and back again),” text Joan Gibbons<br />
Art Since 1900, Volumn 2, text Hal Foster, Rosalind Krauss, Yve-Alain Bois, Benjamin Buchloh, Thames &<br />
Hudson, pp. 600-601<br />
(718) <strong>Brooklyn</strong>: <strong>New</strong> Style, Written and Edited by Liz Farrelly, Booth-Clibborn Editions UK pp. 14-17<br />
Brillant(e), text by Valerio Dehò, Anne Schloen, et. al., Kunst Meran/Merano Arte, art repro. pp. 144-145<br />
Camera Oscura, text Cornelia Lauf, Cornelia Lauf Edition, pp. 35<br />
Castello di Rivoli: 20 Anni d’Arte Contemporanea, Museo d’Arte Contemporanea, edited by Ida Gianelli, Skira Press,<br />
pp. 238-242<br />
Cote d’Azur Annual Event 2004, Tel Aviv Museum of Art (this was an auction catalogue)<br />
Domestic Archeology: Boston and Beyond, edited by Lucy Flint-Gohlke, The Rose Art Museum Brandeis<br />
University, Massachusettes, art repro. pp. 8-9<br />
The End of Art, by Donald Kuspit, Cambridge University Press. p. 83
East Village USA, Edited by Michelle Piranio, <strong>New</strong> Museum of Contemporary Art, <strong>New</strong> <strong>York</strong>, pp. 30, 51, 52<br />
Inside the Studio: Two Decades of Talks with Artists in <strong>New</strong> <strong>York</strong>, interviewed by ICI, Ed. Judith Olch Richards,<br />
Independent Curators International (ICI), <strong>New</strong> <strong>York</strong>, pp. 70–73.<br />
Internet Art, text Rachel Greene, Thames and Huson World of Art, London, p. 27<br />
Intra-Muros, Mamac, Nice, text Denys Riout, Norbert Hillaire, Yvan Gastaut and Gilbert Perlein, art repro<br />
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, Ed. Jeffrey Deitch, art<br />
repro pp. 286-387<br />
Not Afraid: Rubell Family Collection, by Mark Coetzee, Phaidon Press<br />
Visions of America, text Barbara Steffen, Sammlung Essl Publisher, Vienna, Austria, 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-Associazione Marcovalso,<br />
Caraglio (Cuneo) Italy, Andrea Busto, Edizioni Marcovaldo, pp. 342, 343<br />
Flashback: Revisiting the Art of the 80’s, text–panel discussion moderated by curator Philipp Kaiser,<br />
Kunstmusem Basel, Museum fur Gegenwartskunst, Hatje Cantz Verlag, pp. 39,54, art repro. p. 118<br />
Hyperframes: Un Discorso Sulla post-Appropriazione in Arte, Collins & Milazzo, Campanotto Editore,<br />
pp. 87, 89, 94, 95, 101, 124<br />
Looking, Encountering, Staging, edited by Anke Bangma, published by Piet Zwart Institute & authors,<br />
Willem De Kooning Academy Publications, Rotterdam, Netherlands, p. 87<br />
Generations of Art, Fondazione Antonio Ratti, Como and Edizoni Charta, Milano, pp. 50-53, 126, 127<br />
(my private) Heroes, text Marta Herford, Kerber Publications, p. 71<br />
Sweet Dreams: Contemporary Art and Complicity, text Johanna Drucker, University of Chicago Press, pp. 67, 101<br />
2006 Branded and On Display, Krannert Art Museum and Kinkead Pavilian, University of Illinois at Urbana-<br />
Champaign, Illinois, curated by Judith Hoos Fox and Ginger Gregg Duggan, edited by Lucy Flint, art repro. plate<br />
#26<br />
Contemporary Sculpture, Zwirner &Wirth, Transcontinental Litho Acme, Montreal, p. 6, art repro. pp. 55, 56<br />
Freud and Contemporary Art: The Collection of the Sigmund Freud Museum Vienna, Austrian Cultural Forum,<br />
<strong>New</strong> <strong>York</strong>, 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 Gronlund,<br />
Frieze, pp. 124-135, 318, art repro. p. 124<br />
<strong>Haim</strong> <strong>Steinbach</strong>: Percussion, text by Jan Estep, Akira Ikeda Gallery, Taura, Japan & Berlin,<br />
Germany (monograph cat.)<br />
In the Darkest Hour, There May Be Light; Works from Damien Hirst’s Murderme Collection, Serpentine Gallery,<br />
London<br />
L’Art Moderne et Contemporain, by Serge Lemoine, Larousse, pp. 286, 287, art repro. p. 287<br />
Les Rencontres Rossiniennes 1980-2005: venticinque anni di mostre del Teatro degli Artisti a Pesaro,<br />
Galleria di Franca Mancini, Pesaro, Umberto Allemandi &C., pp. 118-121<br />
Masterpieces, CAPC, published by CAPC musée d’art contemporain de Bordeaux, pp. 138-141, p. 236, art repro. pp<br />
138-141<br />
The Pop Art Tradition: Responding to Mass-Culture, by Eric Shanes, published by Parkstone Press International,<br />
<strong>New</strong> <strong>York</strong>, art repro. p 231<br />
Rebeginning, “Overexposed,” Self Service, Spring/Summer, published and edited by Ezra Petronio, p. 288<br />
Sculpture From the Sheldon Memorial Art Gallery, edited by Karon O. Janovy, University of Nebraska Press,<br />
Lincoln and London, pp. 209, 210, 211<br />
The Tears of Things: Meloncholy and Physical Objects, by Peter Schwenger, published by University of Minnesota<br />
Press, pp. 132-39, 144, 182n9<br />
The Uncertainty of Objects and Ideas: Recent Sculpture, text Anne Ellegood, Hirshhorn Museum, Washington<br />
D.C., p. 69, art repro. p. 69 (cat.)<br />
Zwanzig Jahre Schirn (Twenty Years of the Schirn: In Pictures and Interviews), edited by Herausgeber,<br />
Schirn Kunsthalle Frankfurt, art repro. pp. 311, 312<br />
2007 Art Works: A Progressive Collection, published by D.A.P./Distributed Art Publsihers, Inc. art repro. 50<br />
Freud and Contemporary Art: The Collection of the Sigmund Freud Museum Vienna, Wien, Sermet Cifter Salonu,<br />
Yapi Kredi Kultur Sanat Yayincilik, published by A curated by Peter Pakesch and Inge Scholz-Strasser, p. 79 art<br />
repro. p. 53<br />
Living in the Material World: “Things”in Art of the 20 th Century and Beyond, published by National Art Center,<br />
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. p 62, 481<br />
Une galerie dans ville: Roger Pailhas, text Jean Louis Maubant, published by les presses du réel, ARCA, Jean Louis<br />
Maubant, les auteurs<br />
Sculpture Today, by Judith Collins, Published by Phaidon Press, art repro. p 102<br />
Teme Celete, September/October, Special Project by <strong>Haim</strong> <strong>Steinbach</strong>, pp. 66-71<br />
The Speed Art Museum: Highlights from the Collection, published by Merrell Publishers Limited, art repro. p. 208<br />
Unmonumental: The Object in the 21 st Centry, “a minor place,” by Trevor Smith, p. 184, art repro. p. 187 (cat.)
The Contemporary Art Collection of the Sigmund Freud Museum, Vienna in Moscow, published by Stella Kay, curated<br />
by Peter Pakesch, Inge Scholz-Strasser, Boris Manner, pp. 28-29, art repro. p. 29<br />
2008 Americamerica, by Matt Keegan, published by Printed Matter, <strong>New</strong> <strong>York</strong>, art repro. p. 43<br />
The American Tornado; Art in Power 1949-2008, by Germano Celant, published by Skira, art repro. pp. 371-384<br />
Art & Today, by Eleaor Heartney, published by Phaidon, art repro. p. 44<br />
Artists’ Handbook, text Jan Ceuleers, S.M.A.K., The Hands of Art, published by Ludion, 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 contemporain du Val-de-<br />
Marne, p, 91, 92, art repro. p. 91<br />
Contemporanea: Arte dal 1950 a oggi, by Fraancesco Poli, Martina Corgnati, giorgina Bertolino, Elana Del Drago,<br />
Francesco Bernardelli, Francesco Bonami, published by Mondadori Arte, art repro. p. 623<br />
Encyclopaedia of Terrestrial Life Volume VIII, by Lydia Yee and Francesco Manacorda, published by Martian<br />
Espèces D’espace – The Eighties First Part, Magasin, Grenoble, curated by Yves Aupetitallot, art repro. 114, 115, 119<br />
(cat.)<br />
Museum of Terrestrial Art, Barbican Art Gallery, p. 221, art repro. p. 108<br />
Peep, Glimpses of the Last 4 Decades from the Kerry Stokes Collection, TarraWarra Museum of Art, Healesville, Victoria<br />
& Art Galery of Western Australia, Perth, art repro. p. 41 (cat.)<br />
Reality Bag, Publication coordinated by John Armleder, PUMA Urban Mobility, the Serpentine Gallery and<br />
glamour engineering<br />
The Return of Religion and Other Myths: The Art of Iconoclasm, basis voor actuele kunst, Utrecht, Netherlands,<br />
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, images<br />
(collaborative) pp. 102-103, 167<br />
2009 100 Sexes d’Artistes, artist book by Jacques Charlier<br />
The Contemporary Art Book, by Charlotte Bonham-Carter & David Hodge, Published by Goodman/Carlton Books,<br />
art repro. p. 221<br />
just what is it…, published by ZKM ❘ Museum für Neue Kunst, by Götz Adriani and Peter Weibel, art repro. p. 296<br />
Künstler Kritisches Lexikon der Gegenwartskunst: <strong>Haim</strong> <strong>Steinbach</strong>, by Anne Schloen, 3. Quartal 2009<br />
Meaning Liam Gillick, edited by Monika Szewczyk et al., MIT Press, art repro. p. 70<br />
Matrix/Berkeley: A Changing Exhibition of Contemporary Art, published by The University of California Berkeley Art<br />
Museum and Pacific Film Archive, Berkeley, CA, pp. 466-475<br />
Vitamin 3-D: <strong>New</strong> Perspectives in Sculpture and Installation, Phaidon Press, art repro. p. 11<br />
2010 Contemporary Collecting: The Donna and Howard Stone Collection, by James Rondeau, published by Art Institue of<br />
Chicago<br />
Quando è scultura, by Cristina Baldacci and Clarissa Ricca, published by et al.<br />
2011 The Art of Not Making: The <strong>New</strong> Artist/Artisan Relationship, by Michael Petry, published by Thames & Hudson, art<br />
repro. p. 156<br />
Collection Vanmoerkerke, published by Rispoli, art repro. pp. 242 - 245<br />
Ileana Sonnabend: Un Ritratto Italiano, published by The Solomon R. Guggenheim Foundation, art repro. p. 35<br />
L’Invention de l’œuvre. Rodin et les ambassadeurs, published by Éditions du musée Rodin, art repro. p. 167 (cat.)<br />
The Object with <strong>Haim</strong> <strong>Steinbach</strong>, by Adrienne Garbini, published by What Nothing Press<br />
Pop touched me: the art of Rob Pruitt, by Rob Pruitt, published by Abrams, p. 130 (cat.)<br />
Things are Queer. Highlights of Art Collection UniCredit, edited by Marta Herford, published by Kerber Verlag, p.<br />
52-3 (cat.)<br />
Hany Armanious, The Golden Thread, Ed. Stephanie Holt, published by Finsbury Green, p. 35<br />
PUBLIC COLLECTIONS<br />
Art Gallery of <strong>New</strong> South Wales, Sydney<br />
Brooks Museum of Art, Memphis, Tennessee<br />
Caja de Pensiones, Madrid<br />
capcMusee d’art contemporain, Bordeaux<br />
Castello di Rivoli, Torino<br />
Centre for Contemporary Art, Ujazdowski Castle, Warsaw<br />
Detroit Institute of the Arts, Detroit<br />
Ellipse Foundation, Cascais Portugal<br />
Fonds National D’Art Contemporain, Paris<br />
FRAC Bretagne, Chateaugiron<br />
Guggenheim Museum, <strong>New</strong> <strong>York</strong><br />
Hammer Museum, Los Angeles<br />
Indianapolis Museum of Art, Indianapolis, Indiana<br />
Israel Museum, Jerusalem<br />
The Jane Voorhees Zimmerli Art Museum, Rutgers University, <strong>New</strong> Brunswick, <strong>New</strong> Jersey
Kresge Art Museum, Michigan State University, East Lansing, Michigan<br />
Los Angeles County Museum of Art, Los Angeles<br />
Menil Collection, Houston<br />
Metropolitan Museum of Art, <strong>New</strong> <strong>York</strong><br />
Milwaukee Art Museum, Milwaukee, Wisconsin<br />
Museum of Contemporary Art, Los Angeles<br />
Musee d’Art Contemporain, Montreal<br />
Museum of Contemporary Art, Chicago<br />
Museum of Contemporary Art, San Diego<br />
Museum Het Kruithuis, Hertogenbosch, Netherlands<br />
Museum Moderner Kunst Stiftung Ludwig, Vienna<br />
Museum van Hedendaagse Kunst, Gent<br />
Neue Galerie, Graz<br />
Ringling Museum of Art, Sarasota, Florida<br />
Ritter Kunsthalle, Klagenfurt, Austria<br />
Sheldon Memorial Art Museum, Lincoln, Nebraska<br />
Sigmund-Freud Museum, Vienna<br />
Sintra Museum of Modern Art, Lisbon, Portugal<br />
Speed Art Museum, Louisville, Kentucky<br />
Staatsgalerie Stuttgart, Stuttgart<br />
Stedelijk Museum, Amsterdam<br />
Tate Modern, London<br />
University Art Galleries, Wright State University, Dayton, Ohio<br />
Winnipeg Art Gallery, Winnipeg
Change language