2024
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Robert Longo, Milwaukee Art Museum, Wisconsin
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Robert Longo: Searchers, Pace Gallery, London
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Robert Longo, Albertina Museum, Vienna
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2023
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Robert Longo Drawings: Engines of State, National Gallery of Art, Washington, D.C.
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2022
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Sea of Change, Pace Gallery; Los Angeles.
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The New Beyond, Galerie Thaddaeus Ropac; Paris.
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2021
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Lazarus Manifold, Pace Gallery; New York, NY
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I Do Fly / After Summer Merrily, Pace Gallery; New York, NY
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A History of the Present, Guild Hall; East Hampton, New York
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Storm of Hope: Law & Disorder, Palm Springs Art Museum; Palm Springs, California
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2020
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Storm of Hope, Jeffery Deitch, Los Angeles
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Fugitive Images, Metro Pictures, New York
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2019
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When Heaven and Hell Change Places, Hall Art Foundation, Schloss Derneburg
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Amerika, Metro Pictures, New York
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2018
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Them and Us, Metro Pictures, Upstairs Gallery, New York
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Proof: Francisco Goya, Sergei Eisenstein, Robert Longo, Deichtorhallen Hamburg GMBH
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2017
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Robert Longo, Sara Hildén Museum Tampere,Finland
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Let the Frame of Things Disjoint, Galerie Thaddaeus Ropac,London Ely House
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Proof: Francisco Goya, Sergei Eisenstein, Robert Longo, The Brooklyn Museum, New York
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The Destroyer Cycle, Metro Pictures, New York
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2016
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Proof: Francisco Goya, Sergei Eisenstein, Robert Longo, Garage Museum of Contemporary Art, Moscow
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Luminous Discontent, Galerie Thaddaeus Ropac, Paris
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2015
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The Invention of Zero, Galerie Hans Mayer, Düsseldorf
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2014
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Gang of Cosmos, Metro Pictures, New York
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Strike the Sun, Petzel Gallery, New York
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2013
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Phantom Vessels, Galerie Thaddaeus Ropac, Salzburg
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2012
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The Capitol Project, The Aldrich Museum, Connecticut
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STAND, Capitain Petzel Gallery, Berlin
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2011
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God Machines, Galerie Thaddaeus Ropac, Paris
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Mysterious Heart, Galeria Soledad Lorenzo, Madrid, Spain
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2010
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Robert Longo, Kunsthalle Weishaupt, Ulm, Germany
|
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Robert Longo: Survey Exhibition 1980-2009, Museu Berardo, Lisbon, Portugal (cat.)
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2009
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No Wave, SAKS Gallery, Geneva, Switzerland
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Robert Longo: Survey Exhibition 1980-2009, Musee D’Art Moderne Et D’Art Contemporain, Nice, France (cat.)
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Surrendering the Absolutes, Metro Pictures, New York
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Dancing With Chains On, Galerie Hans Mayer, Düsseldorf, Germany
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2008
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“Nights Bright Days”, Margo Leavin Gallery, Los Angeles, CA
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Intimate Immensity, Galeria Soledad Lorenzo, Madrid, Spain (cat.)
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2007
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Children of Nyx, Metro Pictures, New York
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Beginning of the World, Galerie Hans Mayer, Düsseldorf, Germany
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2006
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The Outward and Visible Signs of an Inward and Invisible Grace, Metro Pictures, New York
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Ouroboros, Galerie Daniel Templon, Paris, France
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2005
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Robert Longo: Fire, Water, Rock (2003-2005), Galleria Emilio Mazzoli, Modena, Italy (cat.), Curated by Richard Milazzo
|
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“Something Wicked This Way Comes”, Margo Leavin Gallery, Los Angeles, CA
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Robert Longo: Deep Silence, Monchehaus Museum, Goslar, Germany
|
2004
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The Sickness of Reason, Metro Pictures, New York
|
2003
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Lust of the Eye, Galeria Soledad Lorenzo, Madrid, Spain (cat.)
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2002
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Monsters, Metro Pictures, New York
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Robert Longo: Sigmund Freud, Jüdisches Museum, Berlin, Germany
|
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The Freud Drawings, Museen Haus Lange und Haus Esters, Krefelder Kunstmeseen, Krefeld, Germany; Albertina Museum, Vienna, Austria (cat.)
|
2001
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The Freud Drawings, Metro Pictures, New York
|
2000
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Robert Longo: Superheroes, Lipanjepuntin Artecontemporanea, Trieste, Italy
|
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Robert Longo: 1980 – 2000, Galleria Emilio Mazzoli, Modena, Italy (cat.) Curated by Richard Milazzo
|
1998
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Robert Longo, Gallery Cotthem, Belgium; Cotthem Gallery, Barcelona
|
1997
|
Magellan, Metro Pictures, New York
|
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Das Magellan Projekt, Kunsthalle Tubingen, Tubingen, Germany; Kunsthal Rotterdam, Rotterdam, The Netherlands; Kunstalle Bielefeld, Bielefeld, Germany (cat.)
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Venice Biennale, Venice, Italy
|
1995
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Robert Longo: A Retrospective, The Isetan Museum of Art, Tokyo; Ashikaga City Museum; Kirin Plaza Art Space, Osaka (cat.)
|
|
Johnny Paintings, Galerie Gana-Beaubourg, Paris, France; Galerie Lüpke, Frankfurt, Germany
|
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Johnny Mnemonic: Works on Paper, Galerie Thaddaeus Ropac, Paris, France
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1994
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Robert Longo, Genereux Grunwald Gallery, Toronto, Canada
|
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Robert Longo, Galerie Hans Mayer, Düsseldorf, Germany
|
1993
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Bodyhammers: The Cult of the Gun, Metro Pictures, New York; Galerie Thaddaeus Ropac, Salzburg, Austria
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Robert Longo, Kleines Festspielhaus, Salzburg, Austria
|
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Killing Time, Galeria Joan Prats, Barcelona; Galeria Joan Prats, New York
|
1992
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When Heaven and Hell Change Places, Galerie Hans Mayer, Düsseldorf, Germany (brochure)
|
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Dreams With The Wrong Solutions, Salzburg Grand Opera House, Salzburg, Austria
|
1991
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Robert Longo, Linda Cathcart Gallery, Los Angeles, CA
|
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Robert Longo, Texas Gallery, Houston, TX
|
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Robert Longo, Hamburger Kunstverein and Deichtorhallen, Hamburg, Germany (cat.)
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Faith in Zero Project, Five Gallery installation: Galerie Daniel Templon, Galerie Antoine Candau, Galerie Thaddaeus Ropac, A.B. Galleries, Galerie Gordon Pym et Fils, Paris, France
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1990
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Black Flags, Galerie Daniel Templon, Paris, France; Metro Pictures, New York (cat.)
|
1989
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Robert Longo 1976-1989, The Los Angeles County Museum of Art; Museum of Contemporary Art, Chicago and the Wadsworth Atheneum_, Hartford, Connecticut (Retrospective) (cat.)
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Robert Longo, Seibu Contemporary Art Gallery, Tokyo, Japan
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Robert Longo, Linda Cathcart Gallery, Los Angeles, CA
|
1988
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Robert Longo, Metro Pictures, New York
|
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Robert Longo, Menil Collection, Houston, TX
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Robert Longo, Museum Boymans van Beuningen, Rotterdam, The Netherlands
|
1987
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Robert Longo, Galerie Daniel Templon, Paris, France
|
1986
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Steel Angels Part I & Part II, Metro Pictures, New York
|
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Robert Longo, Donald Young Gallery, Chicago, IL
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Robert Longo, Spiral Gallery, Wacoal Art Center, Tokyo, Japan (cat.)
|
1996
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Robert Longo: Kreuze, Museum Fridericianum, Kassel, Germany
|
1986
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Sequences/Men in the Cities, University Art Museum, California State University, Long Beach, CA; Contemporary Arts Museum, Houston, TX; Fort Wayne Museum of Art, Fort Wayne, IN (cat.)
|
1985
|
Robert Longo, The Brooklyn Museum, Brooklyn, New York
|
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Robert Longo, Stedelijk Museum, Amsterdam, The Netherlands
|
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Robert Longo, Lia Rumma Gallery, Naples, Italy
|
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Robert Longo: Dis-Illusions, University of Iowa Museum of Art, Iowa (cat.)
|
1984
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Robert Longo, Metro Pictures, New York
|
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Robert Longo: Drawings & Reliefs, Akron Art Museum, Akron, OH (cat.)
|
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Robert Longo, Larry Gagosian Gallery, Los Angeles, CA
|
1983
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Robert Longo, Metro Pictures, New York
|
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Robert Longo, Leo Castelli Gallery, New York, NY
|
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Robert Longo, Galerie Schellmann & Kluser, Munich, Germany
|
1982
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Robert Longo, Texas Gallery, Houston, TX
|
1981
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Men in the Cities, Metro Pictures, New York
|
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Robert Longo, Fine Arts Center, University of Rhode Island, Kingston
|
1980
|
Robert Longo, Studio Cannaviello, Milan, ITaly
|
1979
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Robert Longo, The Kitchen, New York, NY
|
1986
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Robert Longo: Studies and Prints, Mackenzie Art Gallery, University of Regina, Canada (cat.)
|
1976
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Robert Longo, Hallwalls, Buffalo, NY
|
2019
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Suffering From Realness, Massachusetts Museum of Contemporary Art; North Adams, Massachusetts.
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The Last Supper After Leonardo, The Stelline Foundation; Milan, Italy.
|
2018
|
Line of Sight, Museum of Contemporary Design and Applied Arts; Lausanne, Switzerland
|
2016
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The Garage Museum of Contemporary Art, Moscow
|
2015
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The Inaugural Installation, Broad Museum, Los Angeles, CA (cat.)
|
|
Last Year in Marienbad: A Film as Art, Kunsthalle Bremen, Germany
|
|
Colección Jumex, In Girum Imus Nocte et Consumimur Igni, Museo Jumex, Mexico City
|
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FIRE AND FORGET. ON VIOLENCE, KW Institute for Contemporary Art, Berlin
|
|
Picasso in Contemporary Art, Deichtorhallen Hamburg, Germany (cat.)
|
|
Cannibalism? On Appropriation in Art. Zacheta National Gallery of Art, Warsaw, Poland
|
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Space Age, Galerie Thaddaeus Ropac, Paris, Pantin
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Looking Back / The 9th White Columns Annual, White Columns, New York
|
2014
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To Have and To Hold, Rubell Family Collection/Contemporary Arts Foundation, Miami (2014-15)
|
|
Bad Thoughts: Collection Martijn and Jeanette Sanders, Stedelijk Museum, Amsterdam (cat.) (2014-15)
|
|
Urban Theater: New York Art in the 1980s, The Modern Art Museum of Fort Worth, Texas (cat.)
|
|
Bard Girls Can Fly, White Flag Projects, Saint Louis, Missouri
|
|
Une Historie. Art, architecture, design. Des annèes 1980 à nos jours, Centre Pompidou, Paris
|
2013
|
Holes in the Walls: Early Works 1948-2013, FRI ART, Kunsthalle Freiburg, Switzerland
|
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Something about a Tree, FLAG Art Foundation, New York
|
|
Disaster Show, Galerie Thaddaeus Ropac, Pantin-Paris
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2012
|
Graphite, Indianapolis Museum of Art, Minnesota (2012-2013) (cat.)
|
|
Wish You Were Here: The Buffalo Avant-garde in the 1970s, Albright-Knox Art Gallery, Buffalo, New York
(cat.)
|
|
We the People, Robert Rauschenberg Foundation Project Space, New York
|
|
Poule!, Fundacion/Colección Jumex, Ecatepec, Mexico (cat.)
|
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Art & Press, Martin-Gropius-Bau, Berlin (cat.)
|
2011
|
View From a Volcano: The Kitchen’s Soho Years, 1971-85, The Kitchen, New York
|
2009
|
The Pictures Generation, 1974-1984 The Metropolitan Museum of Art, New York
|
|
Three: The Triptych in Modern Art, Kunstmuseum Stuttgart, Stuttgart, Germany
|
2008
|
Sonic Youth etc.: Sensational Fix, Museion Museum of Modern and Contemporary Art, Bolzano, Italy
|
|
Political Correct, BFAS Blondeau Fine Art Services, Geneva
|
|
to: Night, The Hunter College Art Galleries, New York (cat.)
|
|
The Human Image in the Twentieth Century: Works from the Collection of the Tokushima Modern Art Museum,_ Gunma Museum of Art_, Tatebayashi, Japan (cat.)
|
|
Atomic Afterimage: Cold War Imagery in Contemporary Art, Boston University Art Gallery, Boston, MA (cat.)
|
|
The Big Bang, Museo Carlo Bilotti, Rome (cat.)
|
|
That Was Then…This Is Now, P.S.1 Contemporary Art Center, New York
|
|
Landscope, Galerie Thaddaeus Ropac, Paris (cat.)
|
|
Future Tense: Reshaping the Landscape, Neuberger Museum of Art, Purchase, New York
|
2007
|
Sympathy for the Devil: Art and Rock and Roll Since 1967, Museum of Contemporary Art, Chicago; Museum of Contemporary Art, North Miami; Musée D’Art Contemporain, Montréal (2007-2009) (cat.)
|
|
Exhibitionism: An Exhibition of Exhibitions of Works from the Marieluise Hessel Collection, Hessel Museum of Art, Bard College, Annandale-on-Hudson, New York (cat.)
|
|
Chelsea to Caochangdi, Chambers Fine Art, Bejing
|
|
History Will Repeat Itself, KW Institute for Contemporary Art, Berlin; Hartware MedienKunstVerein, Dortmund; Centre for Contemporary Art, Ujazdowski Castle, Warsaw (2007-2008) (cat.)
|
|
Panic Attack! Art in the Punk Years, Barbican Art Gallery, London (cat.)
|
|
Lights, Camera, Action: Artist Films for the Cinema, Kaufman Astoria Studios, New York
|
|
Hot Rock, Transmission Gallery, Scotland
|
2006
|
Fifth Interpretation of the Collection, La Colección Jumex, Pachuca, Mexico (cat.)
|
|
New York New York: Fifty Years of Art, Architecture, Cinema, Performance, Photography and Video, Grimaldi Forum, Monaco (cat.)
|
|
Les Mouvement des Images, Centre Pompidou, France (cat.)
|
|
Ma+h Coun+s, Curated by Barry Rosenberg, University of Connecticut, Connecticut
|
|
The Downtown Art Show: The New York Art Scene 1974-1984, Grey Art Gallery, Fales Library, New York University, New York (cat.)
|
2005
|
Neo-Baroque, Byblos Art Gallery, Verona (cat.)
|
|
Atomica: Making the Visible Invisible, Lombard-Freid Fine Arts, New York
|
|
Flashback: Revisiting the Art of the Eighties, Kunstmuseum Museum for Gegenwartskunst, Basel
|
|
Drawing from the Modern, MoMA, New York
|
2004
|
Biennial, Whitney Museum of American Art, New York (cat.)
|
|
American Art of the 1980s: selections from the Broad Collections, Washington University Gallery of Art, St. Louis, Missouri
|
|
Freud – The Creative Analysis of Analysis, University of Connecticut, Storrs, CT
|
|
NY Collects Buffalo State, Buffalo State College, New York
|
|
News From Home (Orientalism <> Occidentalism), The Annex, New York (cat.)
|
|
Perspectives at 25, Contemporary Arts Museum, Houston, Texas (cat.)
|
|
Off the Wall, Bruce Museum of Arts and Science, Greenwich, CT (cat.)
|
2003
|
Drawings, Metro Pictures, New York
|
|
Art, Lies, and Videotape: Exposing Performance, Tate Liverpool, Liverpool, England (cat.)
|
2002
|
Group Show, Metro Pictures, New York
|
|
The Human Factor: Figuration in American Art, 1950-1995, Fort Wayne Museum of Art, Fort Wayne, Indiana
|
|
Super Heroes, Galerie Edward Mitterand, Geneva
|
|
Melodrama, Atrium, Vitoria-Gasteiz, Spain; Centro José Guerrero, Grenada, Spain; MARCO, Vigo, Spain (cat.)
|
2001
|
Postmodern Americans, The Menil Collection, Houston
|
|
I Need You to Be There, Center for Curatorial Studies, Bard College, Annandale-on-Hudson, New York
|
|
Pictures at an Exhibition, Artists Space, New York
|
|
Streit-Lust – For Argument’s Sake, Ludwig Forum für Internationale Kunst, Aachen, Germany (cat.)
|
2000
|
End Papers, Neuberger Museum of Art, Purchase, New York (cat.)
|
|
Around 1984, A Look at the Eighties, P.S. 1, New York
|
|
Group Show, Metro Pictures, New York
|
1999
|
The Kiasma Collection, The Museum of Contemporary Art, Helsinki
|
1998
|
I Love Art, In Kahn, New York
|
|
The Edward R. Broida Collection: A Selection of Works, The Orlando Museum of Art, Florida (cat.)
|
|
Stills: A Selection from the Marieluise Hessel Collection, Center for Curatorial Studies, Annandale-on-Hudson, New York (broch.)
|
1997
|
Landscape: The Pastoral to the Urban, Center for Curatorial Studies, Bard College (June 15 – August 2)
|
|
La Biennale di Venezia: XLVII Esposizione Internationale d"Arte, Venice, Italy (cat.)
|
|
Views from Abroad: European Perspectives on American Art 3, Whitney Museum of American Art, New York (cat.)
|
|
Stills: Art and Cinema in the Marieluise Hessel Collection, Centro Cultural Light Rio de Janeiro, November 19 – January 4, 1998 (cat.)
|
1996
|
Group Show, Metro Pictures, New York
|
|
New York “Unplugged II”, Gallery Cotthem, Knokke-Zoute, Belgium
|
|
Bang! The Gun as Image, Florida State University Museum of Fine Arts, Tallahassee, Florida (cat.)
|
1995
|
Essence and Persuasion: The Power of Black and White, Anderson Gallery, Buffalo, New York (cat.)
|
|
Group Show, Metro Pictures, New York
|
|
It’s Only Rock and Roll, Contemporary Art Center, Cincinnati, Ohio Travelling venues through 1998 (cat.)
|
|
Passions Privee, Musée d’Art Moderne de la Ville de Paris, Paris
|
|
Alternatives: 20 Years of Hallwalls Contemporary Art Center: 1975-1995, Burchfield-Penney Art Center, Buffalo, New York
|
|
(Op) Art Galerie, Galerie Hans Mayer, Düsseldorf, Germany (cat.)
|
1994
|
New York on Paper, Galerie Thaddaeus Ropac, Paris
|
|
Drawings: Reaffirming the Media, Kansas City Gallery of Art, University of Missouri (cat.)
|
|
Le Temps d’un Dessin, Galerie de l’Ecole des Beaux-Arts de Losient
|
|
Old Glory: The American Flag in Contemporary Art, Cleveland Center for Contemporary Art, Cleveland, OH; American Embassy, Copenhagen
|
|
Art in Embassies Program, American Embassy, Copenhagen
|
|
New York “Unplugged”, Gallery Cotthem, Zeedijk
|
|
Summer Academy I, Pace Wildenstein Gallery, New York
|
|
Fuori USO 1994, Kulturna Manifestacija, traveled to Ex Opififio Gaslini, Pescara; Trevi Flash Art Museum of Contemporary Art, Trevi, Cankarjev Dom, Slovenija
|
|
For 25 Years: Brooke Alexander Editions, MoMA, New York
|
|
Group Show, Metro Pictures, New York
|
|
Oh Boy, It’s a Girl: Feminismen in der Kunst, Kunstverein Munich (cat.)
|
|
Art on Paper, Weatherspoon Art Gallery, Greensboro, North Carolina
|
|
After Art: Rethinking 150 Years of Photography, Henry Art Gallery, University of Washington, Seattle, Washington (Traveling exhib., cat.)
|
|
Sustainable Earth/ Sustainable Art, Remba Gallery, West Hollywood, California
|
1993
|
Lucio Silla Group Exhibit, Kleines Festspielhaus, Salzburg, Austria
|
|
Group Show, Metro Pictures, New York
|
|
American Postmodern Art (Longo, Schnabel, Salle, Fischl) Ho-Am Art Gallery, Seoul, Korea (cat.)
|
|
The 21st Century, Kunsthalle Basel, Switzerland (cat.)
|
|
8 American Artists, Galerie Bernd Klüser, Munich
|
1992
|
Allegories of Modernism: Contemporary Drawing, MoMA, New York (cat.)
|
|
Group Show, Metro Pictures, New York
|
|
American Art of the 80’s, Museo d’Arte Moderna e Contemporanea di Trento, Italy (cat.)
|
|
Killing Time, collaborative installation with Jon Kessler, Centre de Recherche d’Exchange et de Diffusion pour l’Art Contemporain (CREDAC), Ivre Sur Seine, France
|
1991
|
Compassion and Protest: Recent Social and Political Art from the Eli Broad Family Foundation Collection, San Jose Museum of Art, San Jose
|
|
Power, Indianapolis Museum of Art, Indianapolis
|
1990
|
Affinities and Intuitions: The Gerald S. Elliot Collection of Contemporary Art, The Art Institute of Chicago (cat.)
|
1989
|
A Forest of Signs: Art in the Crisis of Representation, The Museum of Contemporary Art, Los Angeles (cat.)
|
|
Fondation Daniel Templon: Musee Temporaire Exposition Inaugurale, Frejus, France (cat.)
|
|
Image World: Art and Media Culture, The Whitney Museum of Art, New York (cat.)
|
1988
|
Altered States, Kent Fine Arts, New York
|
|
Concept et Imaginatione (recent works from the photographic collection of the Stedelijk Museum), L’Institut Neerlandais, Paris
|
|
1988 The World of Art Today, Milwaukee Art Museum (cat.)
|
|
Visions/ Revisions: Contemporary Representation, Marlborough Gallery, New York
|
|
The Postmodern Explained to Children, Bonnefantenmuseum, Maastricht, Holland (cat.)
|
|
American Art Since 1945, Tochigi Prefectual Museum of Fine Arts, Japan (cat.)
|
|
Three Decades: The Oliver Hoffman Collection, Museum of Contemporary Art, Chicago
|
1987
|
Documenta 8, Kassel, West Germany (cat.)
|
|
L’Epoque, La Mode, La Morale, La Passion, 1977-1987, Musee national d’Art moderne, Centre Georges Pompidou, Paris (cat.)
|
|
Avant-Garde in the Eighties, Los Angeles County Museum of Art, Los Angeles (cat.)
|
|
Implosion: A Postmodern Perspective, Moderna Museet, Stockholm (cat.)
|
|
Process and Product: The Making of Eight Contemporary Masterworks, Blum Art Institute, Bard College, Anandale-on Hudson, New York )cat.)
|
|
Post-Abstract Abstraction, essay by Eugene Schwartz, The Aldrich Museum of Contemporary Art, Connecticut (cat.)
|
1986
|
An American Renaissance in Art: Painting and Sculpture Since 1940, Museum of Art, Fort Lauderdale (cat.)
|
|
The American Exhibition, The Art Institute of Chicago
|
|
Das Automobil in der Kunst 1886-1986, Haus der Kunst, Munich (cat.)
|
|
Hommage a Beuys, Stadtische Galerie im Lenbachhaus, Munich
|
|
Monumental Drawing: Works by 22 Contemporary Americans, The Brooklyn Museum of Art, New York (cat.)
|
1985
|
Figure It Out: Exploring the Figure in Contemporary Art, Laguna Gloria Art Museum, Austin, Texas
|
|
New York 85, ARCA Centre d’Art Contemporain, Marseille (cat.)
|
|
Body and Soul: Aspects of Recent Figurative Sculpture, Contemporary Arts Center, Cincinnati, Ohio
|
|
Anniottanta, Galleria Comunale d’Arte Moderna, Bologna, Italy (cat.)
|
|
Carnegie International, Museum of Art, Carnegie Institute, Pittsburgh
|
|
New York Art Now: Correspondences, Laforet Museum, Tokyo; (1986) Tochigi Prefectural Museum of Fine Arts, Tochigi; Tazaki Hall Espace Media, Kobe, Japan
|
1984
|
Endgame: Robert Morris, Laurie Anderson, Robert Longo, Hunter College Art Gallery, New York (cat.)
|
|
The Fifth Biennale of Sydney, Private Symbol: Social Metaphor, Art Gallery of New South Wales, Sydney, Australia (cat.)
|
|
Alibis, Centre Georges Pompidou, Musee National d’Art Moderne, Paris (cat.)
|
|
Automobile and Culture, Museum of Contemporary Art, Los Angeles; (1985) Detroit Institute of Art, Michigan
|
|
The Human Condition: Biennial III, San Francisco Museum of Modern Art
|
|
The Heroic Figure, Contemporary Arts Museum, Houston; (1984-1985) Brooks Memorial Art Gallery, Memphis; Alexandria Museum, Alexandria, Kentucky; The Santa Barbara Museum of Art, Santa Barbara, California (cat.)
|
|
Currents, Institute of Contemporary Art, Boston
|
|
Content: A Contemporary Focus, 1974-1984, Hirshhorn Museum, Washington, D.C. (cat.)
|
|
La Narrativa Internacional de Hoy, Museo Rufino Tamayo, Mexico City; (1985) P.S. 1, New York
|
|
Szene New York ’84, Rheinhallen, Koln Messe, Cologne (cat.)
|
1983
|
Drawing Conclusions, Daniel Weinberg Gallery, Los Angeles and San Francisco
|
|
Directions 1983, Hirshhorn Museum, Washington, D.C. (cat.)
|
|
1983 Biennial exhibition, The Whitney Museum American Art, New York (cat.)
|
|
The New Art, Tate Gallery, London (cat.)
|
|
Brave New Works: Recent American Painting and Drawing, Museum of Fine Arts, Boston
|
|
Back to the U.S.A., Kunstmuseum Lucerne; (1983-1984) Rheinishes Landesmuseum, Bonn; Wurttembergischer Kunstverein, Stuttgart (cat.)
|
|
Dahn, Daniels, Genzken, Holzer, Longo, Visch, Stedelijk van Abbemuseum Eindhoven, Holland (cat.)
|
|
Drawings Photographs, Leo Castelli, New York
|
|
The Heroic Figure: Thirteen Artists from the United States, Museum de Arte Moderna, Rio de Janeiro; Museo Nacional de Bellas Artes, Santiago; Museo de Arte Contemporaneo, Caracas
|
|
An International Survey of Recent Painting and Sculpture, MoMA, New York (cat.)
|
1982
|
Dynamix, The Contemporary Arts Center, Cincinnati; Ohio State University, Colombus; Allen Memorial Art Museum, Oberlin, Ohio; The Butler Institute of American Art, Youngstown, Ohio; The University Art Museum, University of Kentucky, Lexington (cat.)
|
|
The Human Figure in Contemporary Art, Contemporary Arts Center, New Orleans
|
|
Eight Artists: The Anxious Edge, Walker Art Center, Minneapolis (cat.)
|
|
Focus on the Figure: Twenty Years, The Whitney Museum of American Art, New York (cat.)
|
|
Documenta 7, Kassel, West Germany (cat.)
|
|
A Fatal Attraction: Art and the Media, The Renaissance Society, University of Chicago
|
|
Drawings, Blum Helman Gallery, New York
|
|
New Figuration in America, Milwaukee Art Center (cat.)
|
|
The American Expressionist Image from Pollock to Today, Sidney Janis Gallery, New York
|
|
The Image Scavengers, Institute of Contemporary Art, Philadelphia (cat.)
|
|
Body Language, Committee for the Visual Arts, MIT, Cambridge, Massachusetts (cat.)
|
|
Urban Kisses, Institute of Contemporary Art, London
|
1981
|
Il Gergo Inquieto, Museo Sant’Agostino, Genoa, Italy
|
|
Tableau, Wave Hill, New York (cat.)
|
|
Picturealism – New York, Galerie Chantel Crousel, Paris
|
|
Westkunst: Today Section, Museen der Stadt Koln, Cologne (cat.)
|
|
Drawings, Metro Pictures, New York
|
|
Body Language: Figurative Aspects of Recent Art, Hayden Gallery, Massachusetts Institute of Technology, Cambridge; (1982-1983) Forth Worth Art Museum, Texas; University of South Florida Art Gallery, Tampa; Contemporary Arts Center, Cincinnati
|
|
Figures: Forms and Expressions, Albright-Knox Art Gallery, Buffalo, New York (cat.)
|
1980
|
Extensions: Jennifer Bartlett, Lynda Benglis, Robert Longo, Judy Pfaff, Contemporary Arts Museum, Houston (cat.)
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Illustration & Allegory, Brooke Alexander Gallery, New York (cat.)
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Opening Group Exhibition, Metro Pictures, New York
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1979
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Re: Figuration, Max Protetch Gallery, New York
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1977
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In Western New York, Albright-Knox Art Gallery, Buffalo, New York (cat.)
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Pictures, Artists Space, New York; (1977-1978) Allen Memorial Art Museum, Oberlin, Ohio; Fine Arts Museum, University of Colorado, Boulder; Los Angeles Institute of Contemporary Art (cat.)
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1976
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Convergence and Dispersal, S.E.M. Festival, Albright -Knox Art Gallery, Buffalo, New York
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Hallwalls Group Show, Artists Space, New York
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1975
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Working on Paper, Hallwalls (opening exhibition), Buffalo, New York
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1984
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Disarming Images, The Contemporary Arts Center, Cincinnati; (1984-1985) University Art Gallery, San Diego State University, California; Museum of Art, Washington State University, Pullman; New York State Museum, Albany; University Art Museum, University of California, Santa Barbara; Munson-Williams-Proctor Institute Museum of Art, Utica, New York,; Fine Arts Gallery, University of Nevada, Las Vegas; Baxter Art Gallery, California Institute of Technologu, Pasadena; Yellowstone Art Center, Billings, Montana; Bronx Museum of the Arts, New York
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2013
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Drawings on Geology, Serge Onnen, J&L Books, New York
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2011
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Legacy: The Emily Fisher Landau Collection, The Whitney Museum of American Art, New
York, Yale University Press, New Haven and London, pp. 176-177, 342
Katy Siegel, Since ’45, Reaktion Books, London, pp. 78-81, 87, 91
“Apocalypse Now,” Newsweek, March 28, cover
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2009
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Robert Longo: Men in The Cities, Photographs, Texts by Richard Price and Cindy Sherman, Schirmer/Mosel
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|
Steve Pullimood, “Robert Longo Surrenders the Absolutes,” ArtInAmericamagazine.com, May 28
|
|
The Pictures Generation: 1974-1984, Douglas Eklund (ed.), The Metropolitan Museum of Art, Yale University Press
|
|
Holland Cotter, “At the Met, Baby Boomers Leap Onstage,” The New York Times, April 24, pp. C27, C30
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|
Linda Yablonsky, “Photo Play: The Social Life of the Pictures Generation,” Art in America, April, pp. 102-108
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|
Boyer Tresaco, Best New York Art 2008/2009, Theredoom, New York, pp. 100-103
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Christopher Miles, “Art Around Town,” LAWeekly.com, January 7
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Glenn O’Brien, “Robert Longo,” Purple, Issue #11, Spring/Summer, pp. 314-321
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2008
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Interieur/ Exterieur: Living in Art, Kunstmuseum Wolfsburg, Hatje Cantz Verlag, Ostfildern, pp. 49, 52, 186, 196-197
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“Robert Longo,” Dossier, Issue No. 1, pp. 26-31
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|
New York Chanel Mobile Art, Issue #3, pp. 11-12, 17-18, 129-130
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|
The Big Bang, Museo Carlo Bilotti, Rome, pp. 18 – 31
|
|
Casey Ruble (ed.) to: Night, Contemporary Representations of the Night, Hunter College Art Galleries, New York, p. 37
|
|
Robert Longo: Intimate Immensity, Galeria Soledad Lorenzo, Madrid, Spain. Essay by Richard Milazzo
|
|
The Human Image in the Twentieth Century: Works from the Collection of the Tokushima Modern Art Museum, Gunma Museum of Art, Tatebayashi, Japan, p. 95
|
|
Keely Orgeman, Atomic Afterimage: Cold War Imagery in Contemporary Art, Boston University Art Gallery, Boston, pp. 42-43
|
|
Matthieu Poirer (ed.), Landscope: Landscape and Contemporary Drawing, Galerie Thaddaeus Ropac, Paris, pp. 38-41
|
|
Ken Johnson, "Will the Revolution Be Museumized? Will There Be a Revolution?’ The New York Times, July 25, p. E29
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|
Nina P. West, “Louder Than Bombs,” www.forbes.com, February 21
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2007
|
Francesco Spampinato, “Art-Toy Story,” Impackt: Contenitori e Contenuti, #2, pp. 108.120
|
|
Dominic Molon, Sympathy for the Devil: Art and Rock and Roll Since 1967, Museum of Contemporary Art, Chicago, pp. 43-47
|
|
Chad Radford, “Sympathy for the Devil: At and Rock and Roll Since 1967,” Art Papers, November/ December, pp. 52-53
|
|
Exhibitionism: An Exhibition of Exhibitions of Works from the Marieluise Hessel Collection, CCS Bard Hessel Museum, Annandale-on-Hudson, New York, p. 28
|
|
Joanne Bernstein, The UBS Art Collection: Drawings, UBS AG, Zürich, pp. 160-161
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“The Producers,” Artforum, October, pp. 352-359, 402
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|
Dorothy Spears, “It’s Only Rock and Art, but They Like It,” The New York Times, September 30, p. 30
|
|
History Will Repeat Itself, Inke Arns and Gabriele Horn (ed.), KW Institute for Contemporary Art, Berlin, pp. 134-137
|
|
Panick Attack! Art in the Punk Years, Mark Sladen and Ariella Yedgar (ed.), Merrell Publishers Limited, London pp. 102-103
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|
Collection Art Contemporain, Éditions du Centre Pompidou, Paris, p. 284
|
|
Christopher Bollen, “Disaster Art,” Vman, Spring/ SUmmer, Isuue 8, p. 88
|
|
Jonathan T.D. Neil, “Robert Longo: The Outward and Visible Signs of an Inward and Invisible Grace,” Art Review, February, p. 132
|
|
Sarah Valdez, “Robert Longo: Review,” Art on Paper, January/ February, p. 89
|
2006
|
Fifth Interpretation of the Collections, La Colección Jumex, Pachuca, Mexicao, p. 213
|
|
The Movement of Images, Centre Georges Pompidou Editions, Paris, pp. cover, 102
|
|
“Robert Longo,” The New Yorker, December 4, pp. 24
|
|
Sarah Douglas, “Staying Power,” Art + Auction, November, pp. 160-167
|
|
Galerie Daniel Templon: 40 ans," Communic’Art, Paris, pp. 304, 386, 595
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|
No. 1, Francesca Richer and Matthew Rosenzweig (ed.), D.A.P., New York, p. 225
|
|
Tilman Osterwold, Irritation des Gleichgenwichts, Snoeck, Cologne, pp. 51-53
|
|
Germano Celant and Lisa Dennison, New York New York: Fifty Years of Art, Architecture, Cinema, Performance, Photography and Video, Skira, Monaco, pp. 480-483
|
|
Hatje Cantz Verlag, Flashback: Revisiting the Art of the 1980s, Kunstmuseum Basel; Museum fur Gegenwartskunst, Switzerland
|
2005
|
Neo-Baroque!, curated by Miacaela Giovanotti and Joyce B. Korotkin, Byblos Gallery, Charta Publishers, Milan
|
|
Richard Lacayo, “How Does ’80s Art Look Now,” Time, 26 March, pp. 58-62
|
|
Robert Longo: Fire, Water, Rock 2003-2005, Emilio Mazzoli Galleria d’Arte Contemporanea, Modena, Italy. Essays by Richard Milazzo and Achille Bonito Oliva
|
|
Jordan Kantor, Drawing from the Modern: After the Endgames, The Museum of Modern Art, New York, p. 105
|
|
Werner Spies, Robert Longo: Deep Silence, Monchehaus Museum Publishing, Goslar
|
|
Robert Longo, “A Universe in Climax SOnic Grandeur: Robert Longo Talks with Glenn Branca,” Yard, Ellen Ross (ed.), London Terrace Station, New York, pp.46-53
|
2004
|
Joyce B. Korotkin, “The Neo-baroque Era,” Tema Celeste, July/August, Issue 104, pp. 38-45
|
|
Andrea Bellini, “New York Tales – Reflections in a Glass Curtain,” Flash Art, May-June, pp. 114-116
|
|
Maxine Kopsa, “Whitney Biennial 2004,” Metropolis M, Number 3, pp. 120-121
|
|
Eleanor Heartney, “The Well-Tempered Biennial,” Art in America, June/July, pp. 70-77
|
|
Francine Koslow Miller, “Robert Longo – Metro Pictures,” Tema Celeste, May/June, p. 90
|
|
Eleanor Heartney, “Robert Longo at Metro Pictures,” Art in America, September, pp. 12-17
|
|
Yigal Nizri, “Controlled Entropy,” Studio – Israeli Art Magazine, Issue 152, May, pp. 12-17
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2003
|
Peter Kalb, “Robert Longo at Metro Pictures,” Art in America, January, p. 101
|
|
“Robert Longo Talks to Mary Haus,” interview with Mary Haus, Artforum, March, pp. 238-239
|
|
Recycled Culture in Contemporary Art and Film: The Uses of Nostalgia, Vera Dika, Cambridge University Press, New York, pp. 8-9, 36-41
|
|
Francisco Calvo Serraller, “Explosión nuclear de la rosa,” La Razón
|
|
Javier Díaz-Guardiola, “Robert Longo: Quiero que mis imagines ocurran al ser vistas, que salpiquien como las de Pollock,” ABC Blanco y Negro Cultural
|
|
Irene Porras, “Robert Longo: Lust of the Eye,” Ubicarte.com
|
|
José Marín-Medina, “Robert Longo, belleza obscena,” El Cultural, El Mundo
|
|
Carlota De Alfonso, “Robert Longo, la confrontación como estrategia,” El Punto de las Artes
|
|
Rafael Soldevilla, “Robert Longo: Bombas y Rosas,” Man
|
|
Pablo Sobisch, “El Otro New York,” Guia del Ocio
|
|
S/F. “Robert Longo,” La Voz de Galicia
|
|
Óscar Alonso Molina, “Robert Longo,” Arte y Parte
|
|
S/F. “Erotismo Vital,” Descubrir el Arte
|
|
S/F. “Las guerras posmodernas,” Arte y Naturaleza
|
|
S/F. “Robert Longo,” Gui del Ocio
|
|
Christina Parra, “Robert Longo,” Metaphore
|
|
Javier Montero, “Juegos de Guerra,” La Luna
|
|
Christina Parra, “ARTE,” Metaphore, Volume 7, June, pp. 90-93
|
2002
|
Dena Shottenkirk, “Conceptual Think-See,” C, Toronto, Spring, pp. 14-17
|
|
Melodrama, Atrium, Vitoria-Gasteiz, Spain, pp. 36-41
|
|
Joyce B. Korotkin, “A Force of Nature,” Tema Celeste, September/October, pp. 74-77
|
|
Paul H-O, “September Tsunami,” Artnet.com Magazine, September
|
|
Rapture, Barbican Gallery, London, pp. 162-163
|
|
“Robert Longo,” The New Yorker, October 14 & 21, p. 44
|
|
Christopher Bollen, “Robert Longo – Monsters,” Time Out New York, October 17-24, p. 80
|
|
Harper’s Magazine, December, p. 20 (illustration)
|
|
The Freud Drawings, Krefelder Kunstmuseen, Krefeld, Germany
|
|
Lilly Wei, “Robert Longo – Metro Pictures,” ARTnews, December, p. 117
|
2001
|
Kim Levin, “Robert Longo,” The Village Voice, February 6, p. 78
|
|
Meghan Dailey, “Robert Longo: The Freud Drawings,” Time Out New York, February 15-22, p. 54
|
|
Joyce B. Korotkin, “Robert Longo – Metro Pictures,” The New York Art World, March, p. 16
|
|
Doald Kuspit, “Robert Longo – Metro Pictures,” Artforum, April, p. 138
|
|
Carey Lovelace, “Robert Longo at Metro Pictures,” Art in America, May, p. 172
|
|
Robert Curcio, “Robert Longo: The Next Wave,” dART, Spring, pp.18-19
|
|
Postmodernism, Eleanor Heartney, tate Publishing, London, pp. 32-33
|
|
Roberta Smith, “When Photography Became Postmodern,” The New York Times, June 29, p. E36
|
|
David Rimanelli, “Signs of the Time,” Artforum, October, pp. 130-132
|
|
Robert Longo, “Paperview,” Paper, November, p. 30
|
|
Streit-Lust – For Argument’s Sake, Ludwig Forum für Internationale Kunst, Aachen, Germany, p. 55
|
|
Werner Spies, “What was left of the Doctor: Robert Longo and His Cycle on Sigmund Freud’s Apartment in Vienna,” Frankfurter Allgemeine Zeitung, September 8, 2001
|
2000
|
Art Since 1940: Strategies of Being, Jonathon Fineberg (ed.), Calmann & King, p. 450
|
|
End Papers, Judy Collischan (ed.), Neuberger Museum of Art, Purchase College, State University of New York
|
|
Sentímento del 2000, Daniela Palazzoli (ed.), Electra, Milan p. 215
|
|
“Limited and Unlimited editions,” Artists Space, New York (benefit brochure)
|
|
Joyce Korotkin, “People’s Choice: Favorites From the Montclair Art Museum,” NY Arts, February, pp. 20-21
|
|
Modern Art in the USA, Patricia Hills, Prentice Hall, New Jersey, p. 367
|
|
Art at Work – Forty Years of The Chase Manhattan Collection, foreward by William B. Harrison, Jr., The Chase Manhattan Corporation, New York, pp. 196-197
|
|
Robert Longo: 1980-2000, essays by Achille Bonito Oliva and Richard Milazzo, Galleria Emilio Mazzoli, Modena, Italy
|
1999
|
“The Wired Diaries,” Wired, January, p. 127
|
|
Performance: Live Art Since 1960, by Roselee Goldberg, Abrams, New York, p. 200
|
|
The Virginia & Bagley Wright Collection, essays by Trevor Fairbrother & Bagley Wright, Seattle Art Museum, p. 132
|
|
Laurence A. Rickels, “American Psychos,” Art/Text, November, pp. 58-63
|
|
Ann Landi, “Robert Longo: Dorfman Projects,” ArtNews, December, p. 175
|
|
The American Century: 1950-2000, Lisa Phillips (ed.), Whitney Museum of American Art, p. 308
|
1998
|
Whitney Scott, “TV Junkie,” Manhattan File, December ’97/ January ’98, p. 34
|
|
Owen Drolet, “A More Intimate Longo,” Flash Art, January/ February, p. 45
|
|
David Frankel, “Robert Longo: Metro Pictures,” Artforum, March, p. 100
|
|
The Edward R. Broida Collection: A Selection of Works, Sue Scott, The Orlando Museum of Art, Flordia
|
|
Grady G. Turner, “Robert Longo,” Flash Art, March/April, pp. 113-114
|
|
“Robert Longo,” The Monthly Art Magazine Wolgan Misool, Korea, Issue 2, February. p. 107
|
|
John Loughery, “American Art: the Center of the Edge,” The Hudson Review, vol. 51, no. 1, Spring, pp. 181-188
|
|
Stills: A Selection from the Marieluise Hessel Collection, essay by Ivo Mesquita, Center for Curatorial Studies, Annandale-on-Hudson, NY (brochure)
|
|
Maia Damianovic, “Robert Longo,” Tema Celeste, Milan, p. 62
|
|
Superheroes, Cotthem Gallery, Cotthem, Belgium; Cotthem Gallery, Barcelona, Spain (cat.)
|
|
H.H. Arnason & Marla F. Prather, History of Modern Art (4th Edition), Harry N. Abrams, New York, pp. 711-712
|
|
Art of the 20th Century (vol. I & II), essays by Klaus Honnef, Indigo F. Walther, Christiane Friche, Manfred Schneckenburger, Karl Ruhrburg, Benedikt Taschen, New York, pp. 561, 573-574
|
1997
|
Past, Present, Future: The 47th International Art Exhibition, The Venice Biennale, essays by Germano Celant and Lino Micciché, Venice, Italy
|
|
David Rimanelli, “A/Drift,” Artforum International, February, p. 83
|
|
“Robert Longo in Something Wild,” Brutus Magazine, Japan, Vol. 2/1, No. 450, p. 29
|
|
David D’Arcy, “The Bigger Picture,” Avenue, February, pp. 64-69
|
|
Robert Longo: Magellan, essay by Thomas Kellein, Kunsthalle Tübingen, Kunsthal Rotterdam, Kunsthalle Bielefeld, du Mont, Cologne, Germany
|
|
“Der Magellan-Zyklus von Robert Longo,” Die Tagerszeitung, April 12/13, p. 14, Kultur
|
|
Bang! The Gun as Image, essay by Roald Nasgaard, Florida State University Museum of Fine Arts, Tallahassee, Florida
|
|
Heinz Peter Schwerfel, “A Journey Through a Flood of Images,” Art, April, pp. 80-85
|
|
Burkhard Meier-Grolman, “Den Wasserhahn Aufgedreht,” Feuilleton, April 16
|
|
Gaby Czöppan, Annette Schipprack, “Ein Amerikanischer Held,” Focus, #15, April, pp. 126-129
|
|
Heinz Peter Schwerfel, “Eine Reise durch die Bilderflut,” Art Das Kunstmagazin, #4, April pp. 80-85
|
|
Ruth Handler, “Denkmal fur Aufsteiger und Abesturzte,” Die Welt, April 23, p. 10 (culture segment)
|
|
Gunter Scheinpflug, “Die Intimitat der Gewalt,” Das Sonntegsblatt, #17, April 25
|
|
“Der Magellan-Zyklus von Robert Longo,” Die Tageszeitung, 13/14 April, p. 14 (culture segment)
|
|
Birgit Sonna, “Ein Panoptikum aus zweiter Hand,” Sudeutsche Zeitung, #92, April 22, p. 14
|
|
Viet Muller, “Geistige Entdeckungsreise,” Sudkurier #86, (Arts segment)
|
|
Tom Holert, “Stil und Gewalt,” Robert Longo, New Yorks Zeitgeistkunstler der Achtziger, ist wieder da," Vogue (Germany), April, p. 128
|
|
Thyrza Nichols Goodeve, “Artists Making Movies,” Guggenheim Magazine, Spring, pp. 40-47
|
|
Christian Gampert, “Klohauschen fallen unter Nebenkosten,” Die Tageszeitung, April 12/13, p. 14 (Arts segment)
|
|
Roberta Smith, “Another Venice Biennale Shuffle to Life,” The New York Times, June 16, pp. C11-12 (Arts segment)
|
|
Roberta Smith, “20th Century Tête-á-Têtes,” The New York Times, July 11
|
|
Adam Gopnik, “The Repressionists: A New Group of Painters Haunts the Biennale,” New York, July, pp. 86-88
|
|
Birmingham City Paper, September (cover)
|
|
Lasting Impressions: Twentieth-Century Prints from the Permanent Collection, Birmingham Museum of Art, pp. 10-11 (brochure)
|
|
Views From Abroad: European Perspectives on American Art 3, essays by Nicholas Serota, Sandy Narine, Clement Greenberg, Whitney Museum of American Art, New York
|
|
Grace Glueck, “Robert Longo: Magellan Series,” The New York Times, December 12, p. E41
|
|
Stills: Art and Cinema in the Marieluise Hessel Collection, essays by Vasif Kortun & IvoMesquita, Centro Cultural Light, Rio de Jeneiro
|
|
Paul Ardenne, Art: L’Âge Contemporain, Regard, Paris, p. 169
|
|
Kleine Schware, “Baby Come Black,” Süddeutsche Zeitung Magazin, #52, December 24, pp. 26-33
|
|
A/Drift, Joshua Decter (ed.), Center for Curatorial Studies, Bard College, Annandale-on-Hudson, New York (cat.)
|
|
John Haber, “Encyclopedia Salesman,” www.haberarts.com
|
1996
|
Flash Art News, “Johnny Mnemonic Gets Pinned,” Flash Art, January/ February, p. 39
|
|
Carter Ratcliff, “The Fate of a Gesture: Jackson Pollock and Post War American Art,” Farrar, Straus, Giroux, New York, pp. 276-279, 286-288, 291, 299-301
|
|
Dike Blair, “Artists’ Dream Machines: The Films of Longo, Salle and Clrk,” Flash Art, March/April, pp. 78-82
|
|
Timothy Greenfield-Sanders, Timothy Greenfield-Sanders: Selected Portraits, Kunst-Station Sankt Peter, Koln (cover)
|
|
Rob Perée, “Kunstenaars Op De Stoep Van Hollywood,” Kunstbeeld, October, pp. 28-31
|
|
Ronald Ehmke (ed.), with Elizabeth Licata, Consider the Alternatives: 20 Years of Contemporary Art at Hallwalls
|
|
American Images: The SBC Collection of Twentieth-Century Art Surface: Contemporary Photographic Practice, Vicky Hayward (ed.), essay by Michael Mack
|
|
100 Photographs from the Collection, Stedelijk Museum, Amsterdam, Holland
|
|
Martha Schwendener, “Catch My Drift,” Time Out, December 12-19, p. 40
|
|
Roberta Smith, “Finding Art in the Artifacts of the Masses,” The New York Times, December 1, pp. 43-44, 46 (Arts and Leisure)
|
1995
|
Suzanna Andrews, “Down and Out on $350,000 a Year,” New York Mgazine, Feb. 13 (cover illustration)
|
|
Brian D’Amato, “Electric: On Robert Longo’s Johnny Mnemonic,” Artforum, Summer, pp. 23-24, 123
|
|
Evelyn Schels, “Strassen Kampfer,” Elle, March, pp. 90-94
|
|
“Lights, Camera, Artists,” Manhattan File, March p. 22
|
|
Essence and Persuasion: The Power of Black and White, Anderson Gallery, Buffalo, New York
|
|
It’s Only Rock and Roll, Contemporary Arts Center, Cincinnati, Ohio (traveling venues through 1998)
|
|
Jeffrey Hogrefe, “Going Hollywood,” Art News, May, pp. 132-133
|
|
Rebecca Mead, “They Want To Be in Pictures,” New York Magazine, May 1, pp. 56-59
|
|
“Johnny Mneumonic: Nilo Rodis and Robert Longo,” Los Angeles Times, May 14
|
|
Conroy S. Powell, “Longo: Larger Than Life,” World Art, #1, pp. 48-51
|
|
Kristine McKenna, “It’s Just Art on a Big Screen,” Los Angeles Times, May 21, pp. 6, 84
|
|
Rogier van Bakel, “Remembering Johnny,” Wired, June, pp. 154-157, 204-206
|
|
Robert Atkins, “An Interview with Robert Longo,” Wired, Surf Issue, No. 1, June, pp. 82-88
|
|
Robert Longo: A Retrospective, The Isetan Museum of Art, Tokyo; Ashikaga City Museum, Ashikaga; Kirin Plaza Art Space, Osaka
|
|
Carlo McCormick, “Robert Longo’s Mnemonic Device,” Paper, June, pp. 40-41
|
|
Greg Lynn, “A Physique Out of Proportion,” Architecture New York, #11, pp. 42-49
|
|
David A. Greene, “Crossover Dreams,” Frieze, #24, Sept/Oct., pp. 35-36
|
|
Ken Johnson, “Johnny Mnemonic,” Art in America, October, pp. 59-60
|
|
Printmaking in America: Collaborative Prints and Presses 1960-1990. Illinois: Abrams/Block Gallery, Northwestern University; New York: Harry N. Abrams, Inc.
|
|
Elizabeth Licata, “Living With Art,” Artnews, December, pp. 87-90
|
|
(Op) Art Galerie, essays by Renate Damsch-Wiehager, Galerie Hans Mayer, Düsseldorf, Germany
|
1994
|
Collier Schorr, “Robert Longo: Metro Pictures,” Frieze, January/ February, issue 14, p. 51 (illustration)
|
|
Vincent Katz, “Robert Longo: Metro Pictures,” Art News, February, vol. 93, no. 2, p. 136
|
|
Andrew Katz, “Robert Longo: Metro Pictures,” Artforum, February, vol. XXXII, No. 6, p. 85 (illustration)
|
|
Eleanor Heartney, “Robert Longo at Metro Pictures,” Art in America, March, pp. 99-100
|
|
Peter Plagens, “I Ought to be in Pictures,” Newsweek, April 18, pp. 58-60
|
|
Jonathan Romney, “Shooting from the Hip,” The Guardian, May 19
|
|
Drawings: Reaffirming the Media, University of Missouri, Kansas City Gallery of Art
|
|
Christopher Chapman, “Bite the Bullet,” World Art, Vol. 1, No. 2, pp. 62-66 (illustration)
|
|
Oh Boy, It’s a Girl: Feiminismen in der Kunst, Kunstverein Munich
|
1993
|
“Stilles Mahnmal gegen den Krieg,” ART, January
|
|
“Riesenkreuze aus Wachs,” SuedWest Presse, March 9
|
|
Joan Matebosch, "Lucio Silla de Mozart, emblema del Nuevo Salzburg de Mortier, ABC Cataluna, January 29
|
|
Sybil Roter, “Mozart hat mich gerufen,” Musik und Theater, March 3, pp. 38-41
|
|
“Salzburger Mozartwoche,” Abendzeitung Muenchen, December 16
|
|
Heinz Joseph Herbort, " Oper kann das Groesste seyn," Die Zeit, February 5, p. 58
|
|
Anton Gugg, “Ein Fest der Bilder,” Die Welt, January 26, p. 8
|
|
“Lucio Silla,” Die Weltwoche, January 28
|
|
Marianne Zelger-Vogt, “Die Macht der Bilder, Macht der Musik,” Neue Zuericher Zeitung, January 27, p. 21
|
|
Gerhard Rohde, “Seelendurchblicke, fotografisch geschaerft,” Frankfurter Allgemeine Zeitung, January 26, p. 25
|
|
“The Assistant Question. Interviews with 23 artists,” Art in America, January, pp. 85-86
|
|
Angelika Heinik, “Badewanne und Oelflasche. ARCO, Madrid,” Frankfurter Allgemeine Zeitung, February
|
|
Thomas Delekat, "Bilder einer Ausstellung, " Die Deutsche Buehnde, March
|
|
Andreas Stockinger, “Supermans rotgoldene Himmelfahrt oder das Ende einer Epoche,” Der Standart, Vienna, January 29
|
|
Daniele Pabinger, “Superlative vergoldet beerdigt,” SVZ, February 4
|
|
Heinz-Norbert Jocks, “Installazione When Heaven and Hell Change Places,” Domus, March, pp. 78-81
|
|
Four American Artists (Longo, Schnabel, Salle, Fischl), Ho-Art Museum, Seoul, Korea
|
|
The 21st Century, Kunsthalle Basel, Switzerland
|
|
Deborah Treisman, “The Salzburg Set,” Avenue, June/ July, p. 11
|
|
Heinz-Norbert Jocks, “Robert Longo: Ich bewundere immer Dinge auf die ich neidisch bin” (interview), Kunstforum, No. 123, pp. 288-297
|
|
Peter Schjeldahl, “Gun Nuts,” The Village Voice, November 23, p. 90
|
|
Roberta Smith, “Classics from the Whitney Permanent Collection,” The New York Times, Friday, November 19, p. C32
|
|
Martin Harrison, “Shots of Sound,” Frieze, November/ December, pp. 37-40
|
|
Ann Hindry, “Les Images et Les Mots,” interview with Rosalind Krauss, Art Press, September, pp. 42-47, original English version pp. E21-25
|
1992
|
Timothy W. Luke, Shows of Force: Power. politics, and Ideology in Art Exhibitions, Durham, North Carolina and London: Duke University Press
|
|
Allegories of Modernism: Contemporary Drawing, Museum of Modern Art, New York
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Kristine McKenna, “An Artist is Now a Director,” Los ANgeles Times, June 27, pp. F1, F10
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American Art of the 80’s, essay by Jerry Saltz, Museo d’Arte Moderna e Contemporanea di Trento, Italy
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Beate Kayser, “Macht Lucio Silla endlich Karriere?” TZ Muenchen, December 16
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Sabine Dulz, “Das Stueck verschlaegt einem den Atem,” Muenchner Merkur, December 16
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“When Heaven and Hell Change Places,” Frankfurter Allgemeine Zeitung, November 25, p. 37
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Karl Harb, “Stuecke nicht aktualisieren, sondern ihre Aktualiaet zeigen,” Salzburger Nachrichten, December 16
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“Riesen-Friedhof inder Galerie,” Der Spiegel, November 6
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1991
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Artrandom: Robert Longo, text by William Gibson, Kyoto Shoin International Co., Ltd., Kyoto, Japan
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Longo, interview by Thomas Kellein, essays by Paul Virilio, Kunstverein Hamburg and Deichtorhallen Hamburg, Dr. Cantz’sche Druckerei, Ostfildern bei Stuttgart
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Nancy Princethal, “Robert Longo,” Art in America, January, p. 192
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Eleanor Heartney, “Robert Longo,” Art News, January, pp. 146-147
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Jeanne Siegel, “Robert Longo at Metro Pictures,” Tema Celeste, Mar/Apr, p. 92
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Susan Chadwick, “Superstar Artist Lives Up to Hype in New Exhibition,” Houston Post, April 20, pp. F1, F6
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Erik Daehlin, Hundre Als Bildekunst, Dreyers Forlag, Oslo
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Patricia Jonson, “Art Reviews: Robert Longo,” Houston Chronicle, April 24
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Angelika Kindermann, “Nach dem K.O. kam die Karriere,” Art November, pp. 146-147
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Petra Kipphoff, “50 = 38 = 2x heute,” Die Zeit, November 1, p. 68
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Susanne Weingarten, “Manie der Korrektheit – Faszination des Schreckens,” Frankfurter Allgemeine Zeitung, November 7, p. 35
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David Galloway, “Trivial Materials, Moral Themes,” International Herald Tribune, November 2
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“Amerika – kritisch gesehen,” Hamburger Abendblatt, October 26
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Armin Voelckers, “Gefuehl und Haerte,” Prinz, November, p. 132
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G. Roger Denson, “Robert Longo: Quest for God and Country,” Flash Art, October, pp. 110-114
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Robert Longo, Hamburg Kunstverein
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1990
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Peter Clothier, “Robert Longo: Los ANgeles County Museum of Art,” Art News, January, p. 175
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David Humphrey, “Robert Longo: Los Angeles County Museum of Art, Linda Cathcart Gallery, UCLA Center for the Performing Arts,” Flash Art, January/February, p. 135
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Michael Anderson, “Robert Longo,” Contemporanea, February, p. 84
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Black Flags, essay by Caroline Smulders, Galerie Daniel Templon, Paris (cat.)
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Affinities and Intuitions: The Gerald S. Elliot Collection of Contemporary Art, Neil Benezra (ed.), The Art Institute of Chicago, Thames and Hudson
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Owen McNally, “Monsters in the Gallery,” The Hartford Courant, Hartford, Connecticut, June 8, Section B, pp. B1, B5
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Susan White, “Robert Longo: A Baby of the NEA,” Hartfod Advocate, June 4, p. 3
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Andy Grundberg, “Longo in Hartford,” The New York Times, August 24
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Michael Brenson, “Robert Longo,” The New York Times, October 26
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Carter Ratcliff, “Longo’s Logos,” Artforum, January, pp. 105-110
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Elizabeth Hess, “Robert Longo,” The Village Voice, November 6
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1989
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David Rimanelli, “Robert Longo, Metro Pictures,” Artforum, January, pp. 110-111
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John Sturman, “Robert Longo, Metro Pictures,” Art News, January, p. 132
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Lawrence Chua, “Robert Longo, Metro Pictures,” Flash Art, January/ February, p. 120
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Holland Cotter, “Robert Longo at Metro Pictures,” Art in America, March, pp. 143-144
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Christopher Lewis, “Mondo Longo,” Art in America, March, pp. 35-39
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Paul Bonaventura, “Robert Longo: A Report to the Future,” Arte Factum, Antwerp, February/ March pp. 12-17
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“Robert Longo: The Painted ‘Moving’ Picture,” Mizue, Japan, Spring, pp. 88-91
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Gert Z. Nordstrom, “Bilden I det Postmoderna Samhallet,” Carlssons Bokforlag, Stockholm
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“Bravo Longo,” interview by Marlaine Glicksman, Film Comment, April, pp. 42-46
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A Forest of Signs: Art in the Crisis of Representation, The Museum of Contemporary Art, The MIT PRess, Cambridge, Massachusetts
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Germano Celant, Unexpressionism: Art Beyond the Contemporary, New York: Rizzoli International
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Kristina McKenna, “In the Footsteps of Warhol: Avant Garde Artists Take a Look at the New Criticality,” The Los Angeles Times, May 7, pp. 90-92
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Amy Tubin, “MTV Gets a Buzz On,” The Village Voice, May 16, p. 53
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1989 Media Art Museum, Quest Hall, Tokyo (cat.)
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Hunter Drohojowska, “Pop Artist Provocateur,” Bazaar Magazine, September
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Hunter Drohojowska, “The 80s: Stop Making Sense,” Art News, October, pp. 146-151 (cover illustration)
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Toshiharu Ito, “Death and Topos in the Split Second: The World of Robert Longo,” Mizue, Tokyo, Autumn, pp. 98-109
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Akira Asada, Marie Claire Japon, October, pp. 399-404
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Elizabeth Zimmer, “The Longo and Short of Dream,” Herald Examiner, October 6, p. B2
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Dan Sullivan, “A Young Pro Who Knows His Technology,” The Los Angeles Times, Calendar Section, October 9, pp. 1-2
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William Wilson, “Robert Longo: Too Much Too Soon,” The Los Angeles Times, (calendar section), 1 October, pp. 1, 8 and 79, (cover illustration)
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Kim Leavin, “Studio Visit,” Mirabella, October, pp. 50-51
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David Lida, “La Longo Vita,” Elle, October, pp. 244-246
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M.D., “The Galleries,” The Los Angeles Times, October 6, Part VI, p. 17
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Jan Breslauer, “Longo’s Dream Jumble: Multimedia in Six Acts,” The Los Angeles Times, October 6, Part VI, pp. 18-19
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Robert Longo, essay by Howard N. Fox, Hal Foster, Katherin Dieckman, Brian Wallis, Los Angeles County Museum of Art and Rizzoli, New York
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Fondation Daniel Templon: Muse Temporaire Exposition Inagurale, Frejus, France
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Jack Kroll, “Riding the Apocalypse – Dream Jumbo: Working the Absolutes,” Newsweek, October 23, p. 80
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Peter Frank, “Deliberate Provocation: Robert Longo Makes a Spectacle of Himself – and Us,” LAWeekly, October 27 – November 2, pp. 65-67
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Susan Kandel, “Robert Longo,” Art Issues, Los Angeles, December, p. 25
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Roy Traykin, “Robert Longo: Untitled,” Details, December-January, p. 169
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Image World: Art and Media Culture, essays by Marvin Heifferman and Lisa Phillips, The Whitney Museum of American Art, New York
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Sandra Tsing Loh, “Robert Longo’s Dream Jumbo: Working the Absolutes at Royce Hall,” LA Weekly, October 20, p. 89
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1988
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Richard Huntington, “The Good, the Bad and the Ugly,” Art News, January, p. 9
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“Robert Longo,” Bijutsu Techo, Tokyo, January, pp. 17-88
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“Robert Longo: A Project for Artforum,” Artforum, March, pp. 106-107
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Klaus Honnef, Kunst der Gegenwart, Taschen, Koln
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“Mondo Longo,” interview by Emily Prager, Interview, May, pp. 86-89
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Lisa Robinson, “Robert Longo, the Artist as Rock Visionary,” Vogue, June pp. 70-74
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Didier Semin, “Pour la documenta a Champignac,” Art Press, Paris, May, pp. 30-33
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Visions/ revisions: Contemporary Representation, essay by Sam Hunter, Marlborough, New York
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Rita Gilbert and William McCarter, Living with Art
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Alfred A. Knopf The World of Art Today, essay by Russell Bowman, Milwaukee Art Museum
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Vera Dika, "Robert Longo: Performance Into Film, " Artscribe, London, Summer, pp. 72-76
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Glenn Rechler, “Robert Longo” (interview), Splash, December
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American Art Since 1945, Tochigi Prefectual Museum of Fine Arts, Japan
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Het Postmodern Aan Kinderen Verklaard, Bonnefantenmuseum Maastricht, Holland
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Neal Benezra, “Overstated Means/ Undeerstated Meaning,” Smithsonian Studies in American Art, Winter, pp. 19-31
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Carlo McCormick, “Fighting the Longo Logo,” Paper, October, p. 24
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“Smart Set: Robert Longo,” Smart, Fall, p. 15
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Roberta Smith, “Robert Longo” (review), The New York Times, November 4, p. C24
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Robert Atkins, “New This Week: Robert Longo,” 7 Days, November 9, p. 63
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Robert Atkins, “New This Week: Robert Longo,” 7 Days, November 9, p. 63
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“Solid Ashes: Lia Gieling in gespreh met Robert Longo,” Nederelands Theaterbock, October, pp. 20-25
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Hal Foster, “Robert Longo,” Artstudio, Paris, Winter, pp. 102-121
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1987
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Eleanor Heartney, “Robert Longo, Metro Pictures,” Art News, January, pp. 155-156
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J.W. Mahoney, “Robert Longo, Metro Pictures,” New Art Examiner, February, p. 57
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Donald Kuspit, “Robert Longo, Metro Pictures,” Artforum, February, pp. 111-112
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Jane Rankin-Reid, “Robert Longo, Metro Pictures, New York,” Tema Celeste, Siracusa, Italy, February/March, pp. 57-58
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Avant-Garde in the Eighties, essay by Howard N. Fox, Los Angeles County Museum of Art
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Robert Longo, “New York City, The Imperial City,” New York, May, p. 4
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Dan Cameron, “Robert Longo Metro Pictures,” Flash Art, May, pp. 86-87
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All America: The Catalogue of Everything American, New York: William Morrow and Company, Inc.
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“Documenta 8,” Art, Hamburg, June, pp. 34-46
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Implosion: A Postmodern Perspective, essays by Lars Nittve, Germano Celant, Kate Linker, Craig Owens, Moderna Museet, Stockholm
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“Documenta Special,” Wolkenkratzer Art Journal, Frankfurt, June/July/August, p. 53
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Documenta 8, Kassel, West Germany
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L’Eppoque La Mode La Morale La Passion, Centre Georges Pompidou, Musée National d’Art Moderne, Paris
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Robert Longo, “Richard Price” (interview), Interview, November, pp. 104-107
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Philippe Dagen, “Robert Longo: l’art est necessairement politique,” Le Monde Paris, June 6
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“Le Longo Art,” Actuel, Paris, June
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Demosthenes Davvetas, “L’Eruption de Robert Longo,” Liberation, Paris, June
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Jean-Louis Pradel, “Unfort vent d’ouest nomme Longo,” L’evenement du Jeudi, Paris, June 18
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Dvid Hershkovits, “Just Like In the Movies,” Paper, October, p. 25
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David Hershkovits “Taking Direct Action,” Harpers Bazaar, November
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Process and Product: The Making of Eight Contemporary Masterworks, essays by Donald Kuspit and Linda Weintraub, Bard College, Annandale-on-Hudson, New York
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Post-Abstract Abstraction, essay by Eugene Schwartz, The Aldrich Museum of Contemporary Art, Connecticut
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1986
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An American Renaissance: Painting and Sculpture Since 1940, essay by Karen Koehler, Museum of Art, Fort Lauderdale
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Carter Ratcliff, “Robert Longo,” Artpress, Paris, February, pp. 12-15 (cover illustration)
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Robert Longo: Studies and Prints, essay by Michael Parke-Taylor, Norman Mackenzie Art Gallery, University of Regina, Sasketchawan, Canada
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Robert Longo: Sequences/ Men in the Cities, essay by Lucinda Barnes, University Art Museum, California State University, Long Beach
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Suzanne Muchnic, “Constant Lure of Longo’s ‘Men’,” Los Angeles Times, March 31, part VI, pp. 1, 4
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Fidel Danieli, “Robert Longo,” Artscene, Los Angeles, March
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Alan Jones, “Robert Longo Goes to Hollywood,” NY Talk, pp. 34-37
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“Ars Longo,” Vanity Fair, April, p. 25
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Michael Brenson, “Art: Robert Longo and His ‘Steel Angels’,” The New York Times, May 16
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Gabriele Perretta, “Robert Longo” (interview), Flash Art, edizione Italiano, June pp. 60-62
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Das Automobil in der Kunst, Haus der Kunst, Munich
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Carter Ratcliff, “Urban Profit,” Elle, October, pp 86, 88
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Gerald Marzorati, “Longo’s Journey into Hype,” Vanity Fair, October, p. 134
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Jos Van den Bergh, “De wereld volgens Robert Longo,” Knack, Brussels, August, pp. 94-96
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“Art Up Front: Robert Longo,” Brutus, Tokyo, No 11/1
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David Hershkovits, “Art Brat Grows Up,” Paper, New York, p. 29
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Richard Marshall and Robert Mapplethorpe, “50 New York Artists,” Chronicle
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H.H. Arnason, History of Modern Art, third edition
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Longo in Tokyo, essay by Junji Itoh, Spiral Gallery, Wacoal Art Center, Tokyo
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Monumental Drawing: Works by 22 Contemporary Americans, essay by Charlotta Kotik, The Brooklyn Museum, New York
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