John Currin

Alison M. Gingeras (ed.), Men (New York (NY): Rizzoli, 2020)

James Lawrence, John Currin (Paris: Gagosian Gallery, 2016) (exh. cat.)

John Currin and Sergio Risaliti, John Currin: Paintings (Florence: Forma Edizione, 2016

John Currin, John Currin: The Dogwood Thieves (Dorset: A.S.A.P, 2012)

Jeff Fleming, John Currin –Works on Paper (Des Moines (IA): Des Moines Art Center, 2003)

Robert Rosenblurn, Rochelle Steiner, and Staci Boris, John Currin (Chicago (IL): Museum of Contemporary Art; London: Serpentine Gallery; New York (NY): Whitney Museum of Art; 2003) (exh cat.)

Cheryl Brutavan, John Currin Selects (Boston (MA): Museum of Fine Arts, 2003)

Cheryl Brutvan, John Currin: The Artist’s Eye (Boston (MA): Museum of Fine Arts, 2003)

John Currin, John Currin (Tokyo: Taka Ishii Gallery, 2002)

Sadie Coles, John Currin and Rachel Feinstein, The Honeymooners (Hydra: Hydra Workshop, 2002) (exh. cat.)

Sharon Coplan Hurowitz and Amanda Benchley, Open Studio: Do-It-Yourself Art Projects By Contemporary Artists (New York (NY): Phaidon Press, 2020)

Lee Beard, Adam Butler, Claire Van Cleave, Diane Fortenberry, Susan Stirling, and David Trigg, The Art Book (London: Phaidon Press, 2020)

Jason Bear and Amie Corry (eds.), Reason Gives No Answers (London: Other Criteria Books, 2019)

Calvin Tomkins, The Lives of Artists: Collected Profiles (London: Phaidon Press, 2019)

The Artist Project: What Artists See When They Look at Art (New York (NY): The Metropolitan Museum of Art; London: Phaidon Press, 2017)

Emily Florido and Michael Cary, Nude: From Modigliani to Currin (New York (NY): Gagosian Gallery, 2016)

Robert Zeller, The Figurative Artist’s Handbook: A Contemporary Guide to Figurative Drawing, Painting, and Composition (New York (NY): Monacelli Studio, 2016)

Emma Dexter, Vitamin D: New Perspectives in Drawing (London: Phaidon Press, 2016)

Michael Petry, Nature Morte: Contemporary Artists Reinvigorate The Still-Life tradition (London: Thames & Hudson, 2016)

Bruno di Marino, Hard Media: La Pornografia Nelle Arti Visive, Nel Cinema e Nel Web (Milan: Johan & Levi Editore, 2013)

Lucy Flint and Nikki Bruno Clapper, Creating the New Century – Contemporary Art from the Dicke Collection (Dayton (OH): The Dayton Art Institute, 2011)

Michael Spens, Studio International: Yearbook Special, Issue 2007, Volume 206, Number 1029 (New York (NY): The Studio Trust, 2010)

Hans Werner Holzwarth (ed), 100 Contemporary Artists (New York (NY): Taschen, 2009)

Guillermo Solana, Lágrimas de Eros (Madrid: Museo Thyssa Bornemsiza, 2009)

Jens Hoffman, Very Abstract and Hyper Figurative (London: Thomas Dane Gallery, 2007)

Francesca Richer and Matthew Rosenzweig (eds), No. 1: First Works by 362 Artists (London: Thames & Hudson, 2006)

In The Darkest Hour There May Be Light: Works From Damien Hirst’s Murderme Collection (London: Other Criteria; Serpentine Gallery, 2006) (exh cat.)

Charlotte Mullins, Painting People (London: Thames & Hudson, 2006)

Christiane Lange and Florian Matzner (eds.), Zurück zur Figur: Malerei der Gegenwart (Munich: Prestel, 2006)

Sandy Nairne and Sarah Howgate, The Portrait Now (London: National Portrait Gallery, 2006)

Andrea Bruciati and Alessandra Galasso (eds.) Painting Codes: I Codici della Pittura (Monfalcone: Galleria Comunale d’Arte Contemporanea di Monfalcone, 2006)

Germano Celant and Lisa Dennison (eds.) New York, New York (Milan: Skira, 2006)

Hugh Honour and John Fleming, A World History of Art (7^th ed.) (London: Laurence King Publishing Ltd, 2005)

The Figurative Impulse: Works from the UBS Art Collection (San Juan: Museo de Arte de Puerto Rico, 2005)

Nicholas Baume (ed), Getting Emotional (Boston (MA): Institute of Contemporary Art, 2005)

Gwen Chanzit (ed), In Limbo: An Exhibition of Works from the Denver Art Museum’s Fractional and Promised Gift of Contemporary Art from Vicki and Kent Logan, and from the Collection of Vicki and Kent Logan (Denver (CO): University for Denver, 2005)

Uta Grosenick (ed), Art Now: 137 Artists at the Rise of the New Millennium (Cologne: Taschen, 2005)

L. Theodore Prescott (ed), Inside Beauty (Grand Rapids (MI): Eerdmans, 2005)

Joan Roth Fuss and Elizabeth Carpenter (eds.), Bits and Pieces Put Together to Present a Semblance of a Whole: Walker Art Center Collections (Minneapolis (MN): Walker Art Center, 2005)

Emma Dexter, Vitamin D (London: Phaidon Press, 2005)

Zina Davis and Robert Rosenblum, The Charged Image: From the Collection of Douglas S. Cramer (Hartford (CT): Joseloff Gallery, University of Hartford, 2004)

Disparities and Deformations: Our Grotesque (Santa Fe (NM): SITE Santa Fe, 2004) (exh cat.)

II Nudo: Fra Ideale e Realta (Bologna: Galleria d’Arte Moderna, 2004) (exh cat.)

Projet CôNE Sud (île-de-France Fonds R Prebles’ Artforms: An Introduction to the Visual Arts (Upper Saddle River (NJ): Prentice Hall, 2004) (exh cat.)

Jonathan Harris (ed), Art, Money, Parties: New Institutions in the Political Economy of Contemporary Art (Liverpool:Liverpool University Press 2004)

Modern Art 3^rd ed (Upper Saddle River (NJ): Prentice Hale, 2004)

Judith Olch Richards (ed), Inside the Studio: Two decades of Talks with Artists in New York (New York (NY): Independent Curators International, 2004)

Tokyo Zokei University Creative Spiral Festival (Tokyo: Tokyo Zokei University, 2003)

Megan Dailey, Curve: The Female Nude Now (New York (NY): Universe Publishing, 2003) (exh cat.)

DC: Lily van der Stokker: Small Talk (Cologne: Museum Ludwig and Walther König, 2003) (exh cat.)

Fast Forward: 20 Years of White Rooms (New York (NY): White Columns, 2003) (exh cat.)

Reverie: Works from the Collection of Douglas S. Cramer (Louisville (KY): The Speed Art Museum, 2003)

Supernova: Art of the 1990s from the Logan Collection (San Francisco (CA): San Francisco Museum of Modern Art, 2003)

Trésors Publics: 20 Ans de Création dans les Fonds Régionaux d’Art Contemporian (Paris: Flammarion, 2003)

Jerry Saltz, Seeing Out Loud (Great Barrington (MA): Figures, 2003)

Laura Hoptman, Drawing Now: Eight Propositions (New York (NY): Museum of Modern Art, 2002)

Uta Grosenick and Burkhard Halle (eds.), Art Now: 137 Artists at the Rise of the New Millennium (Cologne: Taschen, 2002)

Michael Tolkin and Gregory Crewdson, American Standard: (Para) Normality and Everyday Life (New York (NY): Barbara Gladstone Gallery, 2002)

Alison M Gingeras, Dear Painter, Paint Me: Painting the Figure since Late Picabia (Paris: Musée National d'Art Moderne Centre Georges Pompidou; Vienna: Kunsthalle Wien; Frankfurt: Schirn Kunsthalle, 2002)

Hugh Davies and Toby Kamps, Lateral Thinking: Art of the 1990s (La Jolla (CA):Museum of Contemporary Art San Diego, 2002)

Paul Frederic, Azerty: Un Abécédaire autour des Collections du FRAC Limousin (Paris: Éditions du Centre Georges Pompidou, 2001)

Naked Since 1950 (New York (NY): C and M Arts, 2001)

Painting at the Edge of the World (Minneapolis (MN): Walker Art Centre, 2001) (exh cat.)

American Visionaries: Selections from the Whitney Museum of American Art (New York (NY): Whitney Museum of American Art, 2001) (exh cat.)

Drawing on the Figure: Works on Paper of the 1990’s from the Manilow Collection (Chicago (IL): Museum of Contemporary Art, 2000) (exh cat.)

Whitney Biennial: 200 Biennial Exhibition (New York (NY): Whitney Museum of American Art, 2000) (exh cat.)

00: Drawings 2000 (New York (NY): Barbara Gladstone Gallery, 2000) (exh cat.)

Matthew Collings, This is Modern Art (New York (NY): Watson- Guptill, 2000)

Burkhard Riemschneider and Uta Grosenick (eds.), Art at the Turn of the Millennium (Cologne: Taschen, 1999)

The Nude in Contemporary Art (Ridgefield (CT): Aldrich Museum of Contemporary Art, 1999) (exh cat.)

Examining Pictures: exhibiting paintings (London: Whitechapel Art Gallery, 1999) (exh cat.)

Marica Forte, artLovers, TRACEY (Liverpool: The Liverpool Biennial of Contemporary Art, 1999)

Madeleine Grynsztejn, David Frankel, Carnegie International 1999/2000: 2 vols (Pittsburgh (PA): Carnegie Museum of Art, 1999)

I’m Not Here: Constructing Identity at the Turn of the Century (Harrisburg (PA): The Susquehanna Art Museum, 1999) (exh cat.)

Salome: Images of Women in Contemporary Art (New Rochelle (NY): Castle Gallery, The College of New Rochelle, 1999) (exh cat)

TroubleSpot: Painting (Antwerp: New International Cultural Center and Museum van Hedendaagse Kunst Antwerpen, 1999) (exh cat.)

Lisa Liebmann and Brooks Adams, Young Americans 2: New American Art at the

Saatchi Gallery (London: Saatchi Gallery, 1998)

Giannino Malossi (ed), The Style Engine (New York (NY): The Monacelli Press, 1998)

More Fake, More Real, Yet Ever Closer (New Rochdale (NY): Castle Gallery, 1998)         (exh cat.)

Caoimhin MacGiolla Leith and John Hutchinson, Hungry Ghosts (Dublin: Douglas Hyde Gallery, 1998)

Now and Later (New Haven (CT): Yale University Art Gallery, 1998) (exh cat.)

Brooke Adams, Young Americans 2: New American Art at the Saatchi Gallery (London: The Saatchi Gallery, 1998)

Pop Surrealism (Aldrich (CT): Aldrich Museum of Contemporary Art, 1998) (exh cat.)

Matthew Collings, It Hurts: New York Art from Warhol to Now (London: 21 Publishing, 1998)

Laura Hoptman, ‘Projects 60: John Currin, Elizabeth Peyton, Luc Tuymans’ (New York (NY): Museum of Modern Art, 1997)

The Tate Gallery Selects: American Realities - Views from Abroad: European Perspectives on American Art 3 (New York (NY): The Whitney Museum of American Art, 1997)

Painting Project (New York (NY): Basilico Fine Arts and Lehmann Maupin, 1997) (exh cat.)

Aldrift (Annandale-on-Hudson (NY): Bard Publications Office, 1997)

Feminine Image (Roslyn Harbor (NY): Nassau County Museum of Art, 1997) (exh cat.)

Views from Abroad: European Perspectives on American Art 3, American Realities (New York (NY): Whitney Museum of American Art, 1997) (exh cat.)

Roxana Marcoci, Diana Murphy and Eve Sinaiko (eds.), New Art (New York (NY): Abrams, 1997)

Francesco Bonami (ed), Echoes: Contemporary Art at the Age of Endless Conclusions (New York (NY): The Monacelli Press Inc, 1996)

a/drift: Scenes from the Penetrable Culture (Annandale-on-Hudson (NY): Bard College Center for Curatorial Studies,1996) (exh cat.)

Narcissism: Artists Reflect Themselves (Escondido (CA): California Center for the Arts Museum, 1996) (exh cat.)

Pittura (Rivara: Castello di Rivara, 1996) (exh cat.)

Keith Seward, Frederic Paul, John Currin: Works 1989-1995 (Limousin: F.R.A.C, 1996)

Keith Seward, Boomerang (Limousin: Fonds Regional d’Art Contemporain, 1995)

Wild Walls (Amsterdam: Stedelijk Museum, 1995) (exh cat.)

25 Americans: Painting in the 90’s (Milwaukee (WI): Milwaukee Museum of Art, 1995) (exh cat.)

Collection, fin XXe (Angouleme: Fonds Regional d’Art Contemporain Poitou-Charentes, 1995) (exh cat.)

Dont Postpone Joy or Collecting Can Be Fun! (Graz: Nue Galerie am Landesmuseum Joanneum,1994) (exh cat.)

Kathe Burkhart, John Currin, José A. Hernandez Diez, Tony Oursler, Lorna Simpson, Sue Williams (Genova : Galleria Galliani, 1994) (exh cat)

Critical Distance (Antwerp: Ado Gallery, 1993) (exh cat.)

Project Unité Firminy (Firminy: Unité D'Habitation Le Corbusier, 1993) (exh cat.)

Prospect '93: Eine Ausstellung des Frankfurter Kunstvereins im Steinernen Hans und der Schirn (Frankfurt am Main: Kunsthalle, 1993) (exh cat.)

Aperto ’93: Emergency/Emergengenza (Milan: Giancarlo Politi Editore, 1993) (exh cat.)

SOHO at Duke IV: In Search of Self (Durham (NC): Duke University Museum of Art, 1993) (exh cat.)

Look at the Window (Hertogenbosch: Museum Het Kruithuis, 1993) (exh cat.)

Donald O Odita and Dan Cameron, Art Under 30: The Fiar International Prize, Milano, Roma, Paris, London, New York, Los Angeles (Milano: Organizing Committee FIAR, 1991)

Malerei (Cologne: Johnene und Schottle, 1991) (exh cat.)

Therese Lichtenstein, Shared Skin: Sub- Social Identifiers (New York (NY): Janet Biggs, 1991)

Dana Friis Hansen, (not so) Simple Pleasures (Boston (MA): MIT List Visual Arts Center, 1990)

Total Metal (New York (NY): Simon Watson Gallery, 1990) (exh cat.)

Update: 1989-1990 (New York (NY): White Columns, 1990) (exh cat.)

Program Update White Columns (New York (NY): White Columns, 1990) (exh cat.)