Sam Durant

Sam Durant is an interdisciplinary artist whose works engage a variety of social, political, and cultural issues. His methodology is research based but with an emphasis on social engagement, often working with communities and groups in collaborative and performative formations. Growing up near Boston, MA in the 1970’s he experienced the radical pedagogy of A.S. Neill, Maria Montessori, John Holt, anti-war demonstrations and the desegregation of the public school system. Exposure to an educational culture emphasizing democratic ideals, racial equality and social justice created the foundation for Durant’s artistic perspective. Often taking up forgotten events from the past, his works make connections with present and ongoing social and cultural issues. Durant’s interest in monuments and memorials began with Proposal for Monument at Altamont Raceway (1999), continued notably with Proposal for White and Indian Dead Monument Transpositions (2005) that recontextualizes memorials to victims of the conquest of North America, and more recently with Proposal for Public Fountain (2015), a marble work depicting an anarchist statue being blasted by a police water canon. Earlier works have excavated subjects as diverse as modernism’s repressive energy, the death drive beneath 1960’s-70’s pop music and artist Robert Smithson’s theories of entropy. More recent work has encompassed Italian anarchism, cartographic histories of capitalism, gestures of everyday refusal and an ongoing series of projects based on the Non-Aligned Movement. He has recently done major public art projects, Labyrinth (2015) in Philadelphia which addressed mass incarceration and The Meeting House (2016) in Concord, MA that took up the subject of race in colonial and contemporary New England. His most recent public work Untitled (drone) is the second commission for the High Line Plinth in New York and will be in view until 2022. It raises the issues of drone warfare and surveillance in American society.

In 2007 Durant compiled and edited the monograph, Black Panther: The Revolutionary Art of Emory Douglas (Rizzoli Intl.) and curated the exhibition of the same name at MOCA, Los Angeles and the New Museum, New York. Durant’s interviews and writing have been featured in publications like Mousse, Artforum and Flash Art, he has contributed catalog essays to Marcos Ramirez ERRE (Instituto Nacional de Belles Artes, Mexico D.F. 2011), Siah Armajani: Follow the Line (Walker Art Center, MN. 2018) and Hans Haacke: All Connected (New Museum, NY 2019). From 2005 to 2010 he was a member of the collective Transforma Projects, a grassroots cultural re-building initiative in New Orleans. In 2012/13 Durant was an artist in residence at the Getty Museum in Los Angeles where he collaborated with the education department to produce a discursive social media project called What #is a museum? . Durant’s work has been included in numerous international exhibitions including Documenta 13, the Yokohama Triennial, the Venice, Sydney, Busan, Liverpool, Panama, and Whitney Biennials. His work can be found in many public collections including Fonds National d’Art Contemporain, Paris, France, UCLA Hammer Museum, Los Angeles, CA, Museum of Modern Art, New York, NY, The Museum of Contemporary Art, Los Angeles, CA, Project Row Houses, Houston, TX, Stedelijk Museum voor Actuele Kunst, Ghent, Belgium, Tate Modern, London, England. Durant is based in Berlin and Los Angeles and teaches art at the California Institute of the Arts.

Seattle, Washington 1961
California Institute of the Arts, Valencia, CA, M.F.A.
Massachusetts College of Art, Boston, MA, B.F.A.
Untitled (Drone), The High Line Plinth Commission, curated by Cecilia Alemani, New York
Iconoclasm, The Common Guild, Glasgow (Glasgow International)
Proposal for Nonaligned Monuments, Free Movement, CC Strombeek, Grimbergen, Belgium
Iconoclasm, Blum & Poe, LA
End White Supremacy, online exhibition at Blum & Poe on
Sam Durant, Paula Cooper Gallery, New York
Iconoclasm, Library Street Collective, Detroit, MI
One Wall, One Work, Krakow Witkin Gallery, Boston, MA
Like, Man, I’m Tired of Waiting, Waterloo Billboard, Hayward Gallery, London
Build Therefore Your Own World, Blum & Poe, Los Angeles (cat.)
More Than 1/2 The World, Sadie Coles HQ, London
Working Drawing for Nonaligned Research, Last Tango, Zurich
Dreaming Mantas, Mexico City, Mexico (Public Art Project as part of Alumnos47 Foundation’s Proyeto Liquido)
The Meeting House, Old Manse historic landmark, Concord, MA (public project sponsored by The Trustees of Reservation’s Art in the Landscape initiative)
Proposal for White and Indian Dead Monument Transpositions, Washington, D.C., Kemper Art Museum, St. Louis
Borrowed Scenery, Blum & Poe, Tokyo
Praz-Delavallade @ Vendovi Gallery, Brussels
Pigs and Gold, Eastern Star Gallery at The Archer School for Girls, Los Angeles
What #isamuseum, UC Berkeley Art Museum and Pacific Film Archive, Berkeley
Proposal for White and Indian Dead Monument Transpositions, Washington, D.C., Los Angeles County Museum of Art, Los Angeles
Invisible Surrealists, Paula Cooper Gallery, New York
What #isamusuem, The Getty Center, Los Angeles
La Stessa Storia, Museo d'arte contemporanea, Rome (MACRO)
Proposal for Public Fountain, Sadie Coles HQ, London
Propaganda of the Deed, Franco Soffiantino Gallery, Turin, Italy; Centro Arti Plastiche, Carrara (2013)
Laissez Faire et Laissez Passer, Le Monde Va De Lui Meme, Blum & Poe, Los Angeles, CA
Mirror Travels in Neoliberalism, Praz-Delavallade, Paris, France
History Never Ends, I Hate to Bother You, Sadie Coles HQ, London, United Kingdom
Dead Labor Day, Paula Cooper Gallery, New York
This is Freedom?, Blum & Poe, Los Angeles, CA
Praz-Delavallade, Paris, France
Sam Durant, Sadie Coles HQ, London, United Kingdom
Scenes from the Pilgrim Story: Myths, Massacres and Monuments, Blum & Poe,
Los Angeles, CA
Echoplex, Paula Cooper Gallery, New York, NY
Scenes from the Pilgrim Story: Natural History, Catriona Jeffries Gallery, Vancouver, B.C.
Scenes from the Pilgrim Story: Goodbye Merrymount, Galleria Emi Fontana, Milan, Italy
Scenes from the Pilgrim Story: Myths, Massacres and Monuments, Stephen D. Paine Gallery, Massachusetts College of Art, Boston, MA (cat.)
Presse Ne Pas Avaler, Praz-Delavallade, Paris, France
Proposal for White and Indian Dead Monuments Transposition, Washington D.C,
Paula Cooper Gallery, New York, NY (cat.)
Color Pictures, Catriona Jeffries Gallery, Vancouver, B.C.
Edward Said, The Suburban, Oak Park, IL
Involved, Blum & Poe, Los Angeles, CA
12 Signs: transposed and illuminated (with various indexes), Stedelijk Museum voor Actuele Kunst, Ghent, Belgium (cat.)
We Are All Outlaws in the Eyes of Amerika, Galleria Emi Fontana, Milan, Italy
We Are the People, Project Row House, Houston, TX
Walker Art Center Garden Project, Artist-in-Residence, Walker Art Center, Minneapolis, MN
Union Projects, London, United Kingdom
Entropy in Reverse, Govett-Brewster Art Gallery, New Plymouth, New Zealand (cat.)
The Wrong Gallery, New York, NY
Sam Durant, Kunstverein für die Rheinlande und Westfalen, Düsseldorf, Germany (cat.)
Institute of Visual Arts, University of Wisconsin, Milwaukee, WI
Sam Durant, Museum of Contemporary Art, Los Angeles, CA (cat.)
Color Pictures, Blum & Poe, Santa Monica, CA
Sam Durant: 7 Signs; removed, cropped, enlarged and illuminated (plus index),
Wadsworth Atheneum Museum of Art, Hartford, CT
Southern Tree, Tree of Knowledge, Dead Tree (part one), Galleria Emi Fontana, Milan, Italy
Consciousness Raising Historical Analysis, Pain plus Time Separated and Ordered with Emphasis on Reflection, Kunsthof Zurich, Zurich, Switzerland
Tomio Koyama Gallery, Tokyo, Japan
Proposal for Monument in Friendship Park, Jacksonville, FLA., Blum & Poe,
Santa Monica, CA
Into the Black, Kapinos Galerie, Berlin, Germany
Altamont, Blum & Poe, Santa Monica, CA
Ohio, (with Andrea Bowers), Dogenhaus Projekte/ Kapinos, Berlin, Germany
California Displacement Project: You Project is What You Get,
Curt Marcus Gallery, New York, NY
MDF, Particle Board, Projection, Confusion, Grid-Like Structuring, Blum & Poe,
Santa Monica, CA
Blum & Poe, Santa Monica, CA
Sam Durant, Roger Merians Gallery, New York, NY
Foodhouse, Santa Monica, CA
Please Excuse Our Appearance..., Bliss Gallery, Pasadena, CA
Right Now, Richard Green Gallery, Santa Monica, CA

Die Balkone 2, Berlin (with Ana Prvački)
Lost in America, curated by John Miller, Museum im Bellpark, Kriens, Switzerland
Ideas para Monumentos en homenaje a las heroínas y los héroes desconocidos, curated by Luis Camnitzer, Museo Nacional de Bellas Artes, Buenos Aires, Argentina (online)
Like, man, I’m tired (of waiting), artlead, Ghent, Belgium
Visionary New England, DeCordova Sculpture Park and Museum, Lincoln, MA
This Is America, Kunsthal Kade, Amersfoort, Netherlands
Studio Berlin, Berghain, Berlin, Germany
Lost in America, curated by John Miller, NBK, Berlin, Germany
5,471 miles, Blum & Poe, Los Angeles
local talent, curated by Thomas Demand, Sprüth Magers, Berlin, Germany
In Focus - Statements, Copenhagen Contemporary, Denmark
Mythologies - The Beginning and End of Civilizations, ARoS, Aarhus, Denmark
ENCORES (part 2), Music on recurrence, redundancy and surplus, artgenève & Mamco, Geneva, Switzerland
Untold (Hi)stories, M.Bassy, Hamburg, Germany
Le Magasin, Praz-Delavallade/Unit 5, Los Angeles
Dar Jacir Inaugural Exhibition, Dar Yusuf Nasri Jacir for Art and Research, Bethlehem, Palestine
Sculpture Milwaukee, Milwaukee, WI
Political Affairs – Language Is Not Innocent, curated by Monica Bonvicini and Bettina Steinbrügge, Kunstverein in Hamburg (cat.)
Forgetting, Historisches Museum Frankfurt/Main, Frankfurt
Artworks that ideas can buy, Bologna Art Fair, curated by Cesare Pietroiust
Non-Vicious Circle, Paula Cooper Gallery, New York
Museum of Broken Windows, NYCLU, New York
Coping Mechanisms, Library Street Collective, Detroit
Mad World, Marciano Art Foundation, Los Angeles, CA
Give a damn., curated by Rebecca McNamara, Tang Museum at Skidmore College, Saratoga Springs, NY
Power to the People: Political Art Now, Schirn Kunsthalle, Frankfurt
A Break in Transmission, Holden Gallery, Manchester
Into Action, Los Angeles, CA
Group Exhibition, Paula Cooper Gallery, New York
Mirror Mirror, Wadsworth Atheneum Museum, Hartford
The Thrill of Deception, Kunsthalle der Hypo-Kulturstiftung, Munich (August 17, 2018 – January 13 2019), Ludwig Forum for International Art, Aachen (February 22, 2019 – June 30, 2019)
On Whiteness, Jack Shainman Gallery (in collaboration with The Racial Imaginary Institute), New York
Foundation for Contemporary Arts, Gladstone Gallery, New York
The Street. Where the world is made, MAXXI - National Museum of the 21st Century Arts, Rome (cat.)
Yokohama Triennale: Islands, Constellations, Galapagos, Yokohama, Japan
Hand-Painted Pop! Art and Appropriation 1961 to Now, Wadsworth Atheneum Museum of Art, Hartford
Group Exhibition, Paula Cooper Gallery, New York
I Love LA, Praz-Delavallade, Los Angeles
We Need To Talk…, Friedrich Petzel Gallery, New York
High Line Plinth: An exhibition of sculptural models of proposed artworks, High Line at West 14th Street, New York
The Time. The Place. Contemporary Art from the Collection, Henry Art Gallery, University of Washington, Seattle, WA
Mirror, Mirror, Wadsworth Atheneum Museum of Art, Hartford, CT
Zwanzig, Galerie Barbara Thumm, Berlin
Drawing Dialogues: The Sol LeWitt Collection, The Drawing Center, New York
The Natural Order of Things, Museo Jumex, Mexico City
Parcours, Art Basel, Basel
Cause the Grass Don’t Grow and the Sky Ain’t Blue, Praz-Delavallade, Paris
Do You, Ms. Jones?, The University of Arts Rosenwald Wolf Gallery, Philadelphia
Good Dreams, Bad Dreams - American Mythologies, Aïshti Foundation, Beirut
All Power to the People: Black Panthers at 50, Oakland Museum, Oakland
L.A. Exuberance: New Gifts by Artists, LACMA, Los Angeles
Southern Accent: Seeking the American South in Contemporary Art, Nasher Museum of Art at Duke University, Durham, (September 2016-Jan 2017), Speed Art Museum, Louisville (April – August 2017)
Dissolving Margins, Paula Copper Gallery, New York
A Voice Remains, Pippy Houldsworth Gallery, London
Kunstenfestival Watou, Watou
Open Source, Mural Arts, Philadelphia, curated by Pedro H. Alonzo
Spomenici revolucije, MacKey Garage, MAK Center for Art and Architecture, Los Angeles (with Marko Lulic)
Chapter 2: Collecting Lines, Drawings from the Ringier Collection, Villa Flora, Switzerland
Station to Station, Barbican Centre, London
When Artists Speak the Truth, The 8th Floor, New York
Illustrating Anarchy and Revolution, Mexic-Arte Museum, Austin
Border Cultures: Part Two (work, labour), Art Gallery of Windsor, curated by Srimoyee Mitra
A Perpetual Journey, Parse Gallery, New Orleans, curated by Emily Wilkerson
Da Cartografia do Poder aos Itineráros do Saber, Museu Afro Brasil, Sao Pãulo curated by Catarina Pires
IK-00. The Spaces of Confinement, Casa dei Tre Oci, Venice
Liverpool Biennial, Tate Liverpool, Liverpool
Lustwarande ’14 – Rapture & Pain, Tilburg
Passions secrètes, Le Tripostal, Lille, France
Mound City, Laumeier Sculpture Park, St. Louis, MO (cat.)
The Classical in Art, Fundación PROA, Buenos Aires
Jonathan Borofsky, Sam Durant, Charles Gaines, Liz Glynn, Wayne Gonzales, Hans Haacke, Walid Raad, Andres Serrano, Paula Cooper, New York, NY
Damage Control: Art and Destruction Since 1950, Hirshhorn Museum and Sculpture Garden, Washington, DC
Edinburgh Art Festival, Jupiter Artland, Edinburgh
Beer Show, Green Gallery, Milwaukee, WI
Farbe Bekennen (Showing its True Colours), MARTa, Herford
In the Good Name of the Company, For Your Art, Los Angeles, curated by Jan Tumlir
See You In The Hague, Stroom den Haag, The Hague
Subterranea, Visual Arts Gallery, University of California, San Diego, curated by Melinda Guillen and Elizabeth D. Miller
The Present Order is the Disorder of the Future, Museum Kurshaus Kleve, Cleves
Turn off the Sun, ASU Art Museum, Tempe
Only Parts of Us Will Ever Touch Parts of Others, Galerie Thaddaeus Ropac, Paris, curated by Timothée Chaillou
Eight Sculptors 2012, Paula Cooper Gallery, New York
The Living Years: Art After 1989, Walker Art Center, Minneapolis, curated by Siri Engberg and Clara Kim
Stem Terug! Vote Back!, The Appel Arts Center, Amsterdam, curated by Huib Haye van der Werf
ROOTS. Memory, identity and change in the art of today, Malvina Menegaz Foundation for Arts and Culture, Castelbasso, curated by Eugenia Viola
dOCUMENTA (13), Kassel, curated by Carolyn Christov-Bakargiev
Shake and Bake, Praz-Delavallade, Paris, France, curated by Hard Hat
Sweethearts: Artist Couples, Pippy Houldsworth Gallery, London
Da Cartografia do Poder aos Itineráros do Saber, Museum of Science,
University of Coimbra, Portugal
Mass Distractions & Cultural Decay, Mason Gross Galleries,
Rutgers University, New Brunswick, NJ
I Am Still Alive: Politics and Everyday Life in Contemporary Drawing,
Museum of Modern Art, New York, NY
Agitated Histories, SITE Santa Fe, Santa Fe, NM
The Walls That Divide Us, apexart, New York, NY, curated by Miguel Amado
Incidentes de viaje espejo en Yucatán y otros lugares (Incidents of Travel mirroring the Yucatan and elsewhere), Museo Tamayo, Mexico, curated by Pablo Leon de la Barra
The Object of Observation (Changes by Being Observed),
Johnen Galerie, Berlin, curated by Tim Lee
Locations, Paula Cooper Gallery, New York, NY
Nuit Blanche, Toronto, Canada, curated by Candice Hopkins,
Nicholas Brown and Shirley Madill
The Air We Breathe, San Francisco Museum of Modern Art, CA,
curated by Apsara Di Quinzio
Drawn from Photography, Drawing Center, NY, curated by Claire Gilman
Stargazers: Elizabeth Catlett in Conversation with 21 Contemporary Artists, Bronx Museum, NY,
curated by Isolde Brielmaier
The Smithson Effect, Utah Museum of Fine Arts, Salt Lake City, UT,
curated by Jill Dawsey
The Workers, Massachusetts Museum of Contemporary Art, North Adams, Massachusetts, curated by Susan Cross and Carla Herrera-Prats
The Narcissism of Minor Differences, Maryland Institute College of Art, Baltimore, MD
To the Arts, Citizens!, Serralves Museu, Porto, Portugal
The Artist’s Museum: Los Angeles, Artists 1980-2010,
Museum of Contemporary Art, Los Angeles, CA
Inquiring Eyes: Greensboro Collects Art, Greensboro, NC
Repetition island, Centre Pompidou, Paris, France
Shut Your Eyes In Order to See, Praz-Delavallade, Paris, France
XIV International Sculpture Biennale of Carrara, Carrara, Italy, curated by Fabio Cavallucci
Larger than Life, Stranger than Fiction: 11th Fellbach Triennial of Small Scale Sculpture, Fellbach, Germany, curated by Ulrike Groos and Heike van den Valentyn
Kurt, Seattle Art Museum, Seattle, WA, curated by Michael Darling.
Contemplating the Void, Guggenheim Museum, New York, NY,
curated by Nancy Spector and David van der Leer
First Nations / Second Nature, Audain Teaching Gallery, Simon Fraser University, Vancouver, B.C., curated by Candice Hopkins
Photography, Paula Cooper Gallery, New York, NY
Collection: MOCA’s First 30 Years, Museum of Contemporary Art, Los Angeles, CA
Inaugural Group Exhibition, Blum & Poe, Los Angeles, CA
Commentary, Paula Cooper Gallery, New York, NY
Second Nature: The Valentine-Adelson Collection, Hammer Museum, Los Angeles, CA
1999, China Art Objects, Los Angeles, CA
Loaded, Catriona Jeffries Gallery, Vancouver, B.C.
Destroy Design, FRAC Nord-Pas de Calais, Dunkerque, France, curated by Hilde Teerlinck (cat.)
Regift, Swiss Institute Contemporary Art, New York, NY, curated by John Miller
Rock-Paper-Scissors, Pop Music as a Material for Visual Art, Kunsthaus Graz, Austria
The Old, Weird America, DeCordova Museum, Lincoln, MA;
Frye Art Museum, Seattle, WA, curated by Toby Camps
The Art of the Real, 10 Oud Vliegveld, Oostende, Belgium, organized by Bob Nickas
Ours: Democracy in the Age of Branding, Sheila C. Johnson Design Center, organized by Parsons, The New School for Design and the Vera List Center for Art and Politics (cat.)
Zones of Conflict, Pratt Manhattan Gallery, New York, NY
Crossroads: Interfaces between rock and contemporary art, Domus Artium Museum / Center of Contemporary Art of Salamanca, Spain
Index: Conceptualism in California from the Permanent Collection,
Museum of Contemporary Art, Los Angeles, CA
California Biennial, Orange County Museum of Art, Newport Beach, CA
Proyecto civico / Civic Project, CECUT, Centro Cultural Tijuana, Mexico,
curated by Lucia Sanromán and Ruth Estévez
Since we last spoke about monuments, Stroom den Haag, The Hague,
Netherlands, curated by Mihnea Mircan
Close Encounters, American University Museum, Katzen Arts Center, Washington, DC
8th Bienal de Arte de Panamá, Panama, curated by Magali Arriola
Freedom, Stichting Den Haag Sculptuur, The Hague, Netherlands (cat.)
Peripheral vision and collective body, MUSEION, Bolzano, Italy
Biennale of Sydney, Sydney, Australia (cat.)
The Old, Weird America, Contemporary Arts Museum, Houston, Texas,
curated by Toby Camps (cat.)
Ohio, Gahlberg Gallery, College of DuPage, Carol Stream, IL,
curated by Brad Killam and Barb Wiesen
Unmonumental, The New Museum of Contemporary Art, New York, NY
Words Fail Me, MoCAD, Detroit, MI, curated by Matthew Higgs
Been Up So Long It Looks Like Down To Me, Presentation House Gallery, Vancouver, B.C.
Modelers and Makers: Works in Ceramic, Gladstone Gallery, New York, NY
Sculptors’ Drawings: Ideas, Studies, Sketches, Proposals, and More, Angles Gallery,
Santa Monica, CA
Black Panther Rank and File, the Southeastern Center for Contemporary Art,
Winston-Salem, NC; Maryland Institute College of Art, Baltimore, MD
Resistance is..., Whitney Museum of American Art, New York, NY
Summer of Love: Art of the Psychedelic Era, Whitney Museum of American Art, New York, NY
Darling, take Fountain, Kalfayan Galleries, Athens, Greece
Memorial to the Iraq War, Institute of Contemporary Arts, London, United Kingdom (cat.)
Past Over, Steve Turner Contemporary, Los Angeles, CA
Demolition, Engholm Engelhorn Galerie, Vienna, Austria
Busan Bienniale, Busan, Korea (cat.)
Black Panther Rank and File, Yerba Buena Center for the Arts, San Francisco, CA
Dark Places, Santa Monica Museum of Art, Santa Monica, CA
Draft Deceit, Kunstnernes Hus, Oslo, Norway
Drawing and Drawn, Cerritos College Art Gallery, Norwalk, CA
Fallout: Cold War Culture, Mitchell-Innes & Nash, New York, NY
Good Vibrations Le arti visive e il Rock, Palazzo delle Papesse, Siena, Italy
Monuments for the USA, White Columns, New York, NY, curated by Ralph Rugoff (cat.)
Street Signs and Solar Ovens: Socialcraft in Los Angeles,
Craft and Folk Art Museum, Los Angeles, CA
Artists’ Books Re-Visited, Printed Matter, New York, NY
War is Over 1945-2005 La Libertà dell'arte,
Galleria D’Arte Moderna e Contemporanea, Bergamo, Italy (cat.)
Interstate, Nicole Klagsbrun, New York, NY, curated by Adam McEwen
Likeness: Portraits of Artists by Other Artists, University Art Museum,
CAL State University Long Beach, Longbeach, CA (cat.)
Touch of Evil, Estacion Tijuana, Tijuana, Mexico
Think Blue, Blum & Poe, Los Angeles, CA
En/Of, Museum Kurhaus Kleve, Kleve, Germany, curated by Robert Meijer (cat.)
Post No Bills, White Columns, New York, NY, curated by Matthew Higgs
Faces in the Crowd -- Picturing Modern Life from Manet to Today,
Castello di Rivoli, Turin, Italy
Echo/Anti Echo, Galerie Barbara Thumm, Berlin, Germany
Getting Emotional, ICA Boston, Boston, MA (cat.)
Moscow Biennale, former Lenin Museum, Moscow, Russia (cat.)
Monuments for the USA, CCA Wattis Institute for Contemporary Art,
Logan Galleries, San Francisco, CA (cat.)
Outpost, Stephen D. Paine Gallery, Massachusetts College of Art, Boston, MA
Rear View Mirror, Kettle’s Yard, Cambridge, United Kingdom (cat.)
Communaute, Institut d’Art Contemporain Villeurbanne, Lyon, France
Raume, Hausler Contemporary, Munchen, Germany, curated by Martin Beck
100 Artists See God (2004-2006), organized and circulated by iCI (Independent Curators International), New York. Traveled to:
The Contemporary Jewish Museum, San Francisco, CA, March 7–June 27, 2004;
Laguna Art Museum, Laguna, CA, July 31–October 3, 2004;
Institute of Contemporary Arts, London, United Kingdom, November 19, 2004–January 9, 2005;
Contemporary Art Center of Virginia, Virginia Beach, VA, June 9–September 4, 2005;
Albright College Freedman Art Gallery, Reading, PA, September 29–November 20, 2005;
and Cheekwood Museum of Art, Nashville, TN, February 4–April 16, 2006,
curated by John Baldessari and Meg Cranston (cat.)
Playlist, Palais de Tokyo, Paris, France
Through the Gates: Brown vs. the Board of Education, California
African American Museum, Los Angeles, CA (cat.)
Baja to Vancouver, Museum of Contemporary Art, San Diego, CA (cat.)
2004 Biennial Exhibition, Whitney Museum of American Art, New York, NY (cat.)
The Space of Writing, The Glassell School of Art of the Museum of Fine Arts, Houston, TX
Faces in the Crowd, Whitechapel, London, United Kingdom;
Castello di Rivoli d’ Arte Contemporanea, Rivoli, Italy
Break it/Fix it, (with Monica Bonvicini), Secession, Vienna, Austria (cat.)
The Space of Writing, MKG Art Management, Houston, TX
Baja to Vancouver, Seattle Museum of Art, Seattle, WA (cat.);
Blum & Poe, Los Angeles, CA
Dreams and Conflicts: The Viewer’s Dictatorship: Delays and Revolutions, The 50th
International Exhibition of Visual Arts of the Biennale di Venezia, Venice, Italy,
curated by Francesci Bonami and Daniel Birnbaum
Somewhere Better Than This Place: Alternative Social Experience in the Spaces of Contemporary Art, The Contemporary Arts Center, Cincinnati, OH (cat.)
Rent-a-bench, Los Angeles, CA, curated by Jacob Fabricius (cat.)
A Country Lane: Sam Durant, Tobias Hauser, Richard Hoeck, John Miller,
Kerstin Engholm Galerie, Vienna, Austria
Air Guitar: Art Reconsidering Rock Music, Milton Keynes Gallery, United Kingdom;
Cornerhouse, Manchester Angel Row, Nottingham/Tullie House, Carlise,
United Kingdom, curated by Emma Mahony
From the Observatory, Paula Cooper Gallery, New York, NY,
curated by Robert Nickas (cat.)
Artists Imagine Architecture, The Institute of Contemporary Art, Boston, MA (cat.)
Out of Place: Contemporary Art and the Architectural Uncanny, The Museum of Contemporary Art, Chicago, IL; Samuel P. Harn Museum of Art at the University of Florida, Gainesville, FL (cat.)
Prophets of Boom: Werke aus der Sammlung Schurmann, Staatliche Kunsthalle Baden-Baden, Baden-Baden, Switzerland (cat.)
Rock My World, CCAC, San Francisco, CA, curated by Ralph Rugoff (cat.)
Concepts on Nature, Hausler Contemporary, Munich, Germany
The Lunatics Have Taken Over the Asylum, Works on Paper, Inc., Los Angeles, CA
9th Biennial of Moving Images, Center for Contemporary Images,
Saint-Gervais, Geneva, Switzerland (cat.)
In Between: Art & Architecture, MAK Center for Art & Architecture, Los Angeles, CA (cat.)
Playing Amongst the Ruins, Royal College of Art Galleries, London, United Kingdom (cat.)
You Don’t Have to Have Cows to be a Cowboy, Galerie Parkhaus, Berlin, Germany
Superman in Bed, Kunst der Gegenwart und Fotografie Sammlung Schurmann,
Museum am Ostwall, Dortmund, Germany
New Settlements, Nikolaj Copenhagen Contemporary Art Center, Copenhagen, Denmark
Recent Acquisitions Featuring the Norton Gift, Berkeley Art Museum, Berkeley, CA
R. M. S., Pestorius Sweeney House, Brisbane, Australia
Record All-Over, Mamco, Geneva, Switzerland
Extra Art: A Survey of Artists’ Ephemera 1960-1999, CCAC Institute, San Francisco, CA curated by Steven Leiber (cat.)
Take Two/Reprise, The Ottawa Art Gallery, Ottawa, Canada (cat.)
Hemorrhaging of States, TENT, Rotterdam, Netherlands (cat.)
All Things, Everything True, CRG, New York, NY, curated by Jessica Bronson
ForwArt, L’Espace Cultural BBL, Brussels, Belgium, curated by Paul Schimmel (cat.)
D, Sandra Gering Gallery, New York, NY, curated by Robert Nickas
00: Drawings 2000, Barbara Gladstone Gallery, New York, NY (cat.)
LAEX, Ileana Tounta, Athens, Greece
What Your Children Should Know About Conceptualism,
Neueraachenerkunst-verein, Aachen, Germany (cat.)
i me mine, Luckman Fine Arts Gallery, CAL State University, Los Angeles, CA,
curated by Julie Joyce and Mike Mehring
Matthew Antezzo, Sam Durant, Dave Muller, Blum & Poe, Santa Monica, CA
The Living Theatre, Salzburger Kunstverein, Germany, curated by Diana Thater (cat.)
Other Narratives: Fifteen Years, Contemporary Arts Museum, Houston, TX,
curated by Dana Friis-Hansen (cat.)
1999 COLA Exhibition, Los Angeles Municipal Art Gallery, Los Angeles, CA (cat.)
Making History, Center for Curatorial Studies Museum, Bard College,
Annandale-on-Hudson, New York, NY
The Perfect Life, Artifice in L.A. 1999, Duke University Museum of Art, Durham, NC (cat.)
Conceptual Art as Neurobiological Praxis, Thread Waxing Space, New York, NY,
curated by Warren Neidich
Proliferation, Museum of Contemporary Art, Los Angeles, CA,
curated by Russell Ferguson
Obviously 5 Believers, Action: Space, Los Angeles, CA, curated by Brian Olson
L.A. or Lilliput?, Long Beach Museum of Art, Long Beach, CA,
curated by Michael Darling (cat.)
Angels Gate 8.16.98 dusk, Angels Gate Cultural Center, San Pedro, CA
Summary, Galerie Hoffman & Senn, Vienna, Austria
Fantastic Matter of Fact: L.A. On Paper 2, Galerie Krinzinger, Wien, Austria
Trash, Barnsdall Municipal Art Gallery, Los Angeles, CA
Slipstream, Center for Contemporary Art, Glasgow, Scotland
Urban Romantics, Lombard Freid, New York, NY
Entropy at Home, Ludwig Museum, Aachen, Germany,
curated by Wilhelm Schurmann (cat.)
Architecture & Inside, Paul Morris Gallery, New York, NY, curated by Kenneth L. Freed
Family Viewing, Museum of Contemporary Art, Los Angeles, CA
Chill, University of California Irvine, The Art Gallery, Irvine, CA, curated by Brad Spence
Sam Durant & Anne Walsh, Four Walls, San Francisco, CA
Quartzose: 20 Los Angeles Artists, Galleri Tommy Lund, Odense, Denmark,
curated by Michael Darling
Blind Date, Ellen Birrell Studio, Los Angeles, CA, curated by Steven Hull
Scene of the Crime, Hammer Museum, Los Angeles, CA,
curated by Ralph Rugoff (cat.)
Her Eyes Are a Blue Million Miles, Three Day Weekend, Malmø, Sweden; Jason & Rhodes, London, United Kingdom; Three Day Weekend, Los Angeles, CA, curated by Dave Muller
Summer of Love, Fotouhi Cramer Gallery, New York, NY
Places that are elsewhere, David Zwirner, New York, NY, curated by Diana Thater
Next, Blum & Poe, Santa Monica, CA
Elusive Paradise: Los Angeles Art From the Permanent Collection,
Museum of Contemporary Art, Los Angeles, CA
TRUE.BLISS., Los Angeles Contemporary Exhibitions, Los Angeles, CA (cat.)
The Power of Suggestion: Narrative and Notation in Contemporary Drawing, The Museum of Contemporary Art, Los Angeles, CA, curated by Cornelia H. Butler (cat.)
Open House (with Andrea Bowers), Williamson Gallery, Art Center College of
Art and Design, Pasadena, CA, organized by John O’Brien (cat.)
a/drift: Scenes from the Penetrable Culture, Center for Curatorial Studies Museum,
Bard College, Annandale-on-Hudson, New York, NY, curated by Joshua Decter (cat.)
Just Past: The Contemporary in the Permanent Collection, 1975–96, The Museum of Contemporary Art, Los Angeles, CA, curated by Ann Goldstein
The Palace of Good Luck, Burnett Miller Gallery, Santa Monica, CA
All Work - No Play, Acme, Santa Monica, CA
Modsquad, Spanish Box, Santa Barbara, CA
Real Goods, Manhattan Village Shopping Center, Manhattan Beach, CA
Couldn’t Get Ahead, Independent Art Space, London, United Kingdom (cat.)
The Friendly Village, Milwaukee Institute of Art and Design, Milwaukee, WI
Gone, Blum & Poe, Santa Monica, CA
Constructed Views, Woodbury University, Burbank, CA
Thanks, Three-Day Weekend, Los Angeles, CA
Thanks Again FOODHOUSE, Santa Monica, CA
The Game Show, Riverside Art Museum, Riverside, CA
Le Temps d’un Dessin, Galerie de L’Ecole des Beaux Arts de Lorient, Paris, France
Utter Realities, Cerritos College, Cerritos, CA
Germinal Notations, FOODHOUSE, Santa Monica, CA
Loose Slots, Temporary Contemporary, Las Vegas, NV,
organized by Richard Kuhlenschmidt
Newport Harbor Biennial, Newport Beach Art Museum, Newport Beach, CA (cat.)
Heaven Missing, Jose Freire Gallery, New York, NY
Melancholic Consolation and Cynicism, Kunstlerhaus Bethanian, Berlin, Germany;
Ruth Bloom Gallery, Santa Monica, CA
FOODHOUSE visits the Art Store, West Los Angeles, CA, organized by Randy Sommer
Thank You, FOODHOUSE, Santa Monica, CA
FAR Bazaar (with Michael Coughlin, Kent Young and Andrea Bowers),
Foundation for Art Resources, Federal Reserve Building, Los Angeles, CA
Good Design, Nomadic Site, Pasadena, CA
Afterthought, San Francisco Art Institute, San Francisco, CA
Window on LA, LA Art Fair, Los Angeles, CA, organized by David Pagel
4 Person Show, Parker Zanic Gallery, Los Angeles, CA
The Absentbury Show, Bliss Annex, Pasadena, CA, organized by Kent Riddle and Adam Ross; Art Center, Pasadena, CA, organized by Pae White and Jennifer Steinkamp

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Mittringer, Markus. "Sprache und Architektur in ratlosem Gegenuber." Der Standard, November 28, 2003, 26.
Rattemeyer, Christian. "Die Neue Referenzklasse Sam Durant in Los Angeles und Düsseldorf." Texte Zur Kunst, June 2003, 209-214.
Baume, Nicholas. "Sam Durant: Following the Signs." Sam Durant/Matrix 147: 7 Signs; removed, cropped, enlarged and illuminated (plus index), Hartford, CT: Wadsworth Atheneum, (exhibition brochure).
Darling, Michael. "Sam Durant’s Riddling Zones." Sam Durant, Germany: Hatje Cantz Publishers and The Museum of Contemporary Art, Los Angeles, October 2002, 11-53. (cat.)
Greenlee, Gina."Like, Man, What is This Sign Trying to Tell Me?" The Hartford Courant, July 16, 2002, A9.
Harvey, Doug. "Sam & Dave: The Politics of Mixology." LA Weekly, October 18- 24, 2002, 32-33.
Kerr, Merrily. "From the Observatory at Paula Cooper Gallery, New York." Flash Art, May/June 2002, 82.
Kersting, Rita. "Interview With Sam Durant." Sam Durant. Germany: Hatje Cantz Publishers and The Museum of Contemporary Art, Los Angeles, October 2002, 57-79. (cat.)
Knight, Christopher. "In a Distinctly American Groove." Los Angeles Times, November 2, 2002, E1, E10, E11.
Mahony, Emma. "Anyone can play guitar." Air Guitar: Art Reconsidering Rock Music, England: Milton Keynes Gallery, 2002, 7-11. (cat.)
Molon, Dominic. "Deceptive Spaces, Dysfunctional Places." Out of Place: Contemporary Art and the Architectural Uncanny, Chicago: The Museum of Contemporary Art Chicago, June 2002, 9. (cat.)
Morgan, Jessica. "Artists Imagine Architecture Essay." Artists Imagine Architecture, Boston: The Institute of Contemporary Art, 2002, 4-46. (cat.)
Nickas, Bob. "Preview Fall 2002: Sam Durant at The Museum of Contemporary Art Los Angeles." Artforum, September 2002, 72-73.
Rosoff, Patricia. "Sign Language." The Hartford Advocate, July 25, 2002, 21.
Schürmann, Wilhelm, "Sam Durant: Re-cycled Upside-Down and Backward." Prophets of Boom: Werke aus der Sammlung Schürmann, Baden-Baden, Switzerland: Kunsthalle Baden-Baden, Summer 2002, p. 70-81.
Young, Kevin. "Cover Song." Sam Durant, Germany: Hatje Cantz Publishers and The Museum of Contemporary Art, Los Angeles, October 2002, 83-109. (cat.)
Coles, Alex. "Revisiting Robert Smithson in Ohio: Tacita Dean, Sam Durant and Renee Green." Parachute 104, Fall 2001, 128-137.
Comer, Stuart. "Sam Durant Interviewed by Stuart Comer." Untitled, Spring 2001, 7-9.
"Sam Durant at Emi Fontana." Flash Art, August-September 2001, 97-98.
Kern, Kristine. "Kritisk kunst." Politiken, March 31, 2001.
Pagel, David. "Exhibition Accents a Modern Masterpiece." Los Angeles Times, March 24, 2001, F18.
Campbell, Clayton. "Sam Durant at Blum & Poe." Flash Art, January/February 2000, 118.
Hettig, Frank-Alexander. "Sam Durant." Metropolis M, June-July 2000, 50-53.
Ichihara, Kentaro. "Sam Durant." Bijutsu Techo, March 2001, 146-152.
Meyer, James. "Impure Thoughts: The Art of Sam Durant." Artforum, April 2000, 112-117.
Pagel, David. "Durant’s Pretend Theme Park Sends History Rockin’, Rollin’." Los Angeles Times, November 3, 2000, F24.
Relyea, Lane. "Less a Review Than a Long Digression On Sam Durant’s Show At Blum & Poe." Xtra, Volume 3, Issue 2, 8-10.
Russell, John. "The Proliferation of New Ways to Draw." New York Times, August 18, 2000.
Schimmel, Paul. "Entropy Made Visible." ForwArt: a choice, Belgium: Cultural BBL, 2000, 35-39. (cat.)
Tumlir, Jan. "Baldessari’s Urn:’90’s Art in Los Angeles." artext, November 2000-January 2001, 42-51.
Bonik, Manuel. "'Entropy at Home’, Suermondt-Ludwig-Museum." Flash Art, March/April 1999, 44.
Janssen, Gregor. "Zum Sleep-In auf dem Holzschuppen." die tageszeitung, September/November 1999, p. 72-73.
Joyce, Julie. "Sam Durant at Blum & Poe." Art issues, November/December 1999, 45.
Knight, Christopher. "Publicly Funded Artists Rise to Challenge." Los Angeles Times, June 4, 1999, F16.
Labelle, Charles. "Escape Trajectory, Mike Davis’s latest book, Ecology of Fear, envisions Los Angeles as a disaster-prone city of suspicion." World Art, Issue 20, 40-45.
Miles, Christopher. "Sam Durant, Blum & Poe." Artforum, November 1999, 148.
Pagel, David. "Sam Durant Takes a Look Back(ward) at Social History." Los Angeles Times, September 24, 1999, F26.
Romer, Stefan. "What Your Children Should Know About Conceptualism/Neuer Aachener Kunstverein, Aachen." Kunstforum, December/January 1999-2000, p. 348.
Schollhammer, Georg. "A Living Theater." Springerin, September/November 1999, 72-73.
Auerbach, Lisa Anne "‘Trash’ at L.A. Municipal Art Gallery." LA Weekly, April 3-9, 1998, 55.
Baltin, Brian. "Small is Psychedelic, Los Angeles under a microscope." LA Weekly, November 27 - December 3, 1998, p. 47.
Miles, Christopher. "Sam Durant: Going With the Flow." Art/Text, November 1998-January 1999, no. 63, 48-53.
Wilson, William. "'Lilliput’: Small Art in the Big City of L.A." Los Angeles Times, November 24, 1998, F10-F11.
Auerbach, Lisa Anne. LA Weekly, December 27-January 2, 1997, 40.
Butler, Cornelia H. "Power of Suggestion," The Power of Suggestion: Narrative and Notation in Contemporary Drawing, Santa Monica, CA: Museum of Contemporary Art, Los Angeles, CA & Smart Art Press, 11.
Curtis, Cathy. "The Cold Shoulder." Los Angeles Times, October 17, 1997, F2.
Greene, David A. Artissues, January - February 1996, 46.
Hainley, Bruce. "The Power of Suggestion." Artforum, February 1997, 82.
Helfand, Glen. "Sam Durant and Anne Walsh at Four Walls." The San Francisco Bay Guardian, October 1-7, 1997, 31.
Kim, Soo Jin. "Some Models." Xtra, Spring 1997, 7-8.
Melrod, George. "Sam Durant." Art & Auction, February 1997, 30.
Pagel, David. "Finding Ways to Break Out of a Box of Conformity." Los Angeles Times, February 21, 1997, F28.
Schmerler, Sarah. "Sam Durant at Curt Marcus." Artnews, November 1997, 226.
Sheikh, Simon. "L.A. From the Sunny Side." Information, September 12, 1997.
Auerbach, Lisa Anne. Artforum, January 1996, 89.
Greene, David A. "LA Story." Art Monthly, February 1996, 8-10.
Greene, David A, ed. "Art & The Home; Sam Durant: Project." Art & Design, November/December 1996, 23-32.
Knight, Christopher. "Can Artists Run Their Own Spaces and Find True BLISS." Los Angeles Times, December 27, 1996, F1, F38.
Knight, Christopher. "Drawing the Conventional Conceptualist’s Conclusions." Los Angeles Times, November 12, 1996, F3.
Pagel, David. Los Angeles Times, July 11, 1996, F5.
Pagel, David. Los Angeles Times, July 25, 1996, F13.
Wilson, William. Los Angeles Times, November 22, 1996, F24.
Barrett, David. frieze, Summer 1995.
Craddock, Sacha. London Times, April 9, 1995.
Feaver, William. "Strange Habits and Sharp Practice." London Observer, April 23, 1995.
Grabner, Michelle. "The Friendly Village." Art Muscle, October/November 1995, 13-22.
Kandel, Susan. "Grouped Together to Stand Apart." Los Angeles Times, January 12, 1995.
Kastner, Jeffrey. frieze, Summer 1995.
Kent, Sarah. "Art Review." Time Out, April 1995.
Klabin, Karen. "Safe as Houses." Detour, November 1995, 135.
Knight, Christopher. "Deconstruction." Los Angeles Times, October 28, 1995, F6.
Marino, Melanie. Art in America, July 1995.
McEwan, John. "Critic’s Choice." Sunday Telegraph, April 23, 1995.
O’Reilly, John. "Art for Bart’s Sake." Modern Review, April 10, 1995.
Pagel, David. "Self-Help Culture Skewered at FOODHOUSE." Los Angeles Times, April 21, 1994, F7.
Walker, Hamza, James Scarborogh, Brad Killam, Kathryn Hixson and Joe Jarrell. Sculpture, July/August 1994.
Crosby, Gregory. "The Professor’s Guide to Vegas Kulcher." SCOPE, October 1993.
Curtis, Cathy. "Painting Pictures." Los Angeles Times and Orange County Register, October 14, 1993.
Devine, Rory. "Heaven Missing." Picturebook #4, 1993.
Littlefield, Kinney. "A Check of Contemporary Art." Orange County Register, October 1, 1993.
Pincus, Robert. "Showcase of an Art Generation has few Flashes of Brilliance." San Diego Union Tribune, October 17, 1993.
Wilson, William. "Biennial Uses Humorous Paradox to Tackle Issues." Los Angeles Times, October 9, 1993.
Wilson, William. "Private Thoughts Go Public at Newport Harbor." Orange County Register, October 6, 1993.
Smith, Roberta. New York Times, September 10, 1993.
Pagel, David."Overdose of Vagueness." Los Angeles Times, May 15, 1992.

Freedom?. Edited by Sam Durant. Kassel, A project to accompany Scaffold at dOCUMENTA (13)
"The Church of Ethical Cynicism." by Luis Camnitzer and Sam Durant. Mousse Magazine, February-March, 2012, n. 32, 198-203.
"Edward Said, Music at the Limits and Parallels and Paradoxes: Explorations in Music and Society." This Long Century, December, 2011, 159, accessed December 14, 2011.
"Américas/Americas." In 8a Bienal de Arte de Panamá/8th Panama Art Biennial, 48-53. Panama: Fundacion Arte y Cultura, 2011.
"It Speaks to Me: Sam Durant on a 1953 Cold War poster at the Wende Museum in Culver City." Culture Monster, July 20, 2011, accessed July 21, 2011.
"Hans Haacke, The Power That Artists Have." Flash Art, January–February 2010, Vol. XLIII, No. 270, 50-54.
DIY: ID 517 Spring 2009. Edited by Nancy Buchanan and Sam Durant. Los Angeles: Lulu, 2009.
(A project with students of CalArts)
ID 517: Special Topics in Art and Politics: A Not So Simple Case for Torture. Edited by Nancy Buchanan and Sam Durant, Paris: One Star Press, 2008.
(A project with students of CalArts)
Black Panther: The Revolutionary Art of Emory Douglas. Edited by Sam Durant, New York: Rizzoli International Publishers, 2007.
"Production Notes." Artforum, October 2007, XLVI, No. 2, p. 335.
"Notes on Drift, Monuments: For Robert Smithson, L.A. MOCA October 2004." In Drift, New York: GAS Gigantic ArtSpace, 2005.
"Proposal for White and Indian Dead Monument Transpositions, Washington, D.C." In Proposal for White and Indian Dead Monument Transpositions, Washington, D.C., New York: Paula Cooper Gallery, 2005, 5-9.
"Proposal for White and Indian Dead Monument Transpositions, Washington, D.C." In Monuments for the USA, San Francisco: California College of the Arts, 2005, 54-57.
"What the world needs now…Art and Politics: 22 artists respond." frieze, November/December 2004, 76-89.
"Text on the Double Woodshed." In Prophets of Boom: Werke aus der Sammlung Schürmann. Baden-Baden, Switzerland: Kunsthalle Baden-Baden, Summer 2002, 154.
"Roots." V Magazine, November/December 2002.
"Top Ten." Artforum, November 2002, 71.
"Saving Graces." Artforum, May 2001, XXXIX, No. 9, 151-152.

Black Panther: The Revolutionary Art of Emory Douglas, The New Museum, New YorkThe Permanent Record of Newjack Rasputin: the Work of Tucker Stilley, Monte Vista, Los Angeles, CA
All Power to the People: The History and Legacy of the Black Panther Party Film Festival, REDCAT/CalArts Theater, Walt Disney Concert Hall, Los Angeles.
Black Panther: The Revolutionary Art of Emory Douglas, MOCA.
Eat the Market, Los Angeles Contemporary Museum of Art
War! Protest in America, 1965-2004, film series co-organized with Chrissie Isles, Whitney Museum of Art, New York, REDCAT/CalArts Theater, Los Angeles, CA
Not Photography, Rosamund Felsen Gallery, Santa Monica, CA
The Power of Positive Thinking, FOODHOUSE, Santa Monica, CA
Paranoid, M.Y.T.H. Series, Los Angeles, CA (co-organized with Andrea Bowers)

“The Murder of Fred Hampton” The Struggle Continues, REDCAT, panel discussion with Erika Huggins and Rogin Kelley
“Kids’ Campaign to Correct History”, Kids Pop-Up Studio at the Hammer Museum with Elisa Harkins, Hammer Museum, Los Angeles
Artist Walk Through: Sam Durant on Jimmie Durham, Hammer Museum, Los Angeles
SOMA Summer 2017: Authority, lecturer, Mexico City
Crit Sessions, Aspen Art Museum, Aspen
Race and Justice, Parcours Talk, with Tracey Rose, moderated by Sabine Breitwieser, Art Basel, Basel
Lyceum I-IV, organized as part of The Meeting House, Old Manse, Concord and The Trustees of Reservation Art & the Landscape initiative. (Lyceum I: The Picnic with Nina LaNegra and Fulani; Lyceum II: Poetry Reading with Tisa Bryant, Danielle Legros Georges, Robin Coste Lewis and Kevin Young; Lyceum III: A New Framework for Dialogue with Adam Foss, Barbara Lewis, Penny Outlaw, Tim Phillips and Gilead Sher; Lyceum IV: New England Town Hall Meeting with Pedro Alonzo, Sam Durant and Mary Jane Jacob)
The Art of Inclusion: Making the Invisible Visible, Keynote, as part of Building An Inclusive City: A New conversation on Race, Bias & Divided Communities conference, with Rick Lowe, moderated by Pedro Alonzo, MIT, Boston.
Unwinding the Labyrinth, with Timothy Phillips, Darius Monrow, and Maria Gaspar. Moderated by Pedro Alonzo. Pennsylvania Academy of the Fine Arts, Philadelphia (as part of Open Source)
Noah Purifoy: From Watts with 66 Signs of Neon to the Gallows, with Sue Welsh, Naima Keith, Michael Massenburg, Dr. Lizzetta Le-Falle Collins. Moderated by Franklin Sirmans and Yael Lipschutz, Los Angeles County Museum of Art
Sam Durant & Charles Gaines, Hammer Museum, Los Angeles
Sam Durant and Candice Hopkins, Kemper Art Museum, St. Louis
Public Art Fund Talks at the New School: Encounters: Artists, Cities and Communities, New School, New York
“The Ruins of Mound City” (with Juan William Chavez) as part of Monument/Anti-Monument, conference, St Louis
Political Art Across Disciplines, with Bernice Reynaud and Travis Preston, as part of WHAP! 2014 Lecture series, presented by the CalArts’ MA Aesthetics and Politics Program and the City of West Hollywood
Fowler OutSpoken Conversation: Liza Lou and Sam Durant on Conceptualization and Collaboration, Liza Lou and Sam Durant, moderated by Alma Ruiz, Fowler Museum, Los Angeles
Conversation between Rigo 23, Caleb Duarte, and Sam Durant, part of Autonomous InterGalactic Space Program, REDCAT, Los Angeles
Plática Inaugural: La Reconstrucción de Los Hechos (Inaugural Conversation: The
Reconstruction of the Facts)
, Sam Durant and Marcos Ramírez Erre, Museo de Arte
Carrillo Gil, Mexico City
West Hollywood Aesthetics and Politics lecture series (WHAP!): Street Art, Sam Durant, Marquis Lewis, and Jeffrey Deitch, West Hollywood Library, West Hollywood, CA
Hammer Conversations, Tom Morello and Sam Durant, Hammer Museum, Los Angeles
Workshop: Art and Community Engagement, with Transforma Collective (with Rick Lowe and Jessica Cusick) UCLA Hammer Museum, Los Angeles
Word: Spoken, Sung, Seen, Biennale of Sydney, Sydney, Australia
Parsons New School for Social Research, New York
Proyecto Cívico, Centro Cultural Tijuana, Baja, Mexico
Artist and Activist, Orange County Museum of Art, Newport Beach, CA University of Southern California, Los Angeles (with Rick Lowe)
In Dialogue with Emory Douglas, San Francisco Art Institute, CA
This Must Be The Place, Smithsonian National Museum of the American Indian, Venice Biennale, Venice, Italy
Eat the Market, Los Angeles County Museum of Art. Los Angeles, CA
Black Panther Rank and File, Maryland Institute College of Art, Baltimore, MD
Institutional Critique, Yale University, New Haven, CT
InSite, University of California, San Diego, CA
NAFTA, Museum of Contemporary Art, San Diego, CA
War! Protest In America, 1965-2004, REDCAT/CalArts Theater, Los Angeles, CA
Wild Walls Symposium, Berlin/Los Angeles Film Festival of Architecture And Urbanism, University of Southern California, Los Angeles, CA
Take Two/Reprise: Symposium, The Ottawa Art Gallery, Ottawa, Canada
Practical Criticism: Art and Theory in the 90s, Pacific Design Center, Los Angeles, CA (organized by Charles Gaines and Russell Ferguson)
Fake Estate: Where Art and Architecture Meet, Los Angeles Forum for Architecture and Urban Design, MAK Center for Art and Architecture, Los Angeles, CA (moderated by Cornelia H. Butler)

Art Gallery of Western Australia, Perth
Berkeley Art Museum, Berkeley
Fonds National d’Art Contemporain, Paris
Guggenheim Museum, New York
Hammer Museum, Los Angeles
Henry Art Gallery, Seattle
Institut d’Art Contemporain Villeurbanne, Lyon
Los Angeles County Museum of Art, Los Angeles
Museum of Modern Art, New York
The Museum of Contemporary Art, Los Angeles
The Museum of Contemporary Art, San Diego
Nasher Museum of Art at Duke University, Durham
The Ottawa Art Gallery, Ottawa
Project Row Houses, Houston
Rochester Memorial Art Gallery. Rochester
Stedelijk Museum voor Actuele Kunst, Ghent
Tate Modern, London
Vancouver Art Gallery, Vancouver
Wadsworth Atheneum Museum of Art, Hartford
Walker Art Center, Minneapolis
Whitney Museum of American Art, New York

Untitled (Drone), The High Line Plinth Commission, curated by Cecilia Alemani, New York
Dreaming Mantas, Mexico City, Mexico (public art project as part of Alumnos47 Foundation’s Proyecto Liquido)
Meeting House, Old Manse historic landmark, Concord, Ma (public project sponsored by Trustees of the Reservation’s Art in the Landscape initiative)
Labyrinth, Mural Arts, City of Philadelphia, Philadelphia
Scaffold, Stroom Den Haag, The Hague
Public Prosecutors’ Office, City of Arnhem, the Netherlands
Project Row Houses, Houston, TX
Walker Art Center, Minneapolis, MN

Hugo Boss Finalist, Solomon R. Guggenheim Foundation and Hugo Boss Prize, New York, NY
Smithsonian Artist Research Fellow, Smithsonian Institution, Washington, D.C.
United States Artists Fellow, USA Foundation, New York, NY
The Ordway Prize Finalist, Penny McCall Foundation, New York, NY
Walker Art Center Artist in Residence, Minneapolis, MN
Individual Artist Grant, Department of Cultural Affairs, City of Los Angeles, Los Angeles, CA

All Power to the People: The History and Legacy of the Black Panther Party Film Festival, REDCAT/CalArts Theater, Walt Disney Concert Hall, Los Angeles, CA
Black Panther:The Revolutionary Art of Emory Douglasedited by and with an introduction by Sam Durant, with contributions by Danny Glover, Bobby Seale, Sonia Sanchez, Kathleen Cleaver, Colette Gaiter, Greg Jung Morozumi, Amiri Baraka, and St. Clair Bourne, published by Rizzoli, New York, NY
Harlem Postcards Summer 2006, Studio Museum Harlem, New York, NY
The Other Side/El Otro Lado (Regionalism, Nationalism, Imperialism), artist multiple, Chinati Foundation, Marfa, TX

© 2021 Sam Durant