Sam Durant

Sam Durant is an interdisciplinary artist whose works engage a variety of social, political, and cultural issues. 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 de-segregation 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 employing extensive research, his work unpacks historical injustice and makes connections to its ongoing effects. 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 re-contextualizes 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. 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) and Siah Armajani: Follow the Line (Walker Art Center, MN. 2018). 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.
BORN
Seattle, Washington 1961
EDUCATION
California Institute of the Arts, Valencia, CA, M.F.A.
Massachusetts College of Art, Boston, MA, B.F.A.
ONE-PERSON EXHIBITIONS
2021
Paula Cooper Gallery, New York (upcoming, 2021)
2020
Blum & Poe, LA (upcoming)
End White Supremacy, online exhibition at Blum & Poe on www.galleryplatform.la
2019
Iconoclasm, Library Street Collective, Detroit, MI
2018
One Wall, One Work, Krakow Witkin Gallery, Boston, MA
2017
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
2016
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)
2015
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
2014
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
2013
What #isamusuem, The Getty Center, Los Angeles
La Stessa Storia, Museo d'arte contemporanea, Rome (MACRO)
Proposal for Public Fountain, Sadie Coles HQ, London
2011
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
2010
History Never Ends, I Hate to Bother You, Sadie Coles HQ, London, United Kingdom
Dead Labor Day, Paula Cooper Gallery, New York
2009
This is Freedom?, Blum & Poe, Los Angeles, CA
2008
Praz-Delavallade, Paris, France
2007
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.
2006
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.)
2005
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.
2004
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
2003
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.)
2002
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
2001
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
2000
Tomio Koyama Gallery, Tokyo, Japan
Proposal for Monument in Friendship Park, Jacksonville, FLA., Blum & Poe,
Santa Monica, CA
1999
Into the Black, Kapinos Galerie, Berlin, Germany
Altamont, Blum & Poe, Santa Monica, CA
1998
Ohio, (with Andrea Bowers), Dogenhaus Projekte/ Kapinos, Berlin, Germany
1997
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
1995
Blum & Poe, Santa Monica, CA
Sam Durant, Roger Merians Gallery, New York, NY
1994
Foodhouse, Santa Monica, CA
1992
Please Excuse Our Appearance..., Bliss Gallery, Pasadena, CA
Right Now, Richard Green Gallery, Santa Monica, CA

GROUP EXHIBITIONS
2021
The Double: Resemblance and Difference in Modern Art, curated by James Meyer, National Gallery of Art, Washington DC (upcoming, Spring 2021)
2020
Visionary New England, DeCordova Sculpture Park and Museum, Lincoln, MA
Lost in America, curated by John Miller, NBK, Berlin, Germany
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
2019
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
2018
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.)
2017
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
ARTISTS NEED TO CREATE ON THE SAME SCALE THAT SOCIETY HAS THE CAPACITY TO DESTROY, Mana Contemporary, Jersey City
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
2016
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)
2015
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
2014
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
2013
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
2012
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
2011
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
2010
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
2009
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
2008
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
2007
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
2006
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
2005
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
2004
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
2003
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.)
2002
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
2001
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.)
2000
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
1999
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
1998
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
1997
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
1996
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
1995
Couldn’t Get Ahead, Independent Art Space, London, United Kingdom (cat.)
The Friendly Village, Milwaukee Institute of Art and Design, Milwaukee, WI
1994
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
1993
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
1992
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
1991
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

BIBLIOGRAPHY
2019
Meyer, James. The Art of Return. The Sixties & Contemporary Culture. Chicago: University of Chicago Press, 2019.
Borries, Friedrich von. “Ungelegte Eier (9).“ Monopol-magazin.de, December 8, 2019
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Wild, Matt. “All 22 Sculpture Milwaukee 2019 Sculptures Ranked.” Milwaukeerecord.com, June 6, 2019.
Johnson, Paddy. „Armory Show Tour: A Fine Art Shipper on the Trends Being Sent to This Year’s Fairs.“ Observer.com, March 8, 2019.
2018
Gat, Orit. “Chicago Round Up.” Art Agenda, October 5, 2018.
Nys Dambrot, Shana. “Art at Nerano: Empathy for Everyone, Pasta for Some.” LAWeekly, October 5, 2018.
Scott, Ron. “Coping Mechanisms @ Library Street Collective.” Detroit Art Review, October 2, 2018.
Carrigan, Margaret. “At Expo Chicago, a ‘slow burn’ of interest from collectors.” The Art Newspaper, September 28, 2018.
Solly, Meilan. “NYC Pop-up Exhibition Traces Broken Windows Policing’s Toll” Smithsonian.com, September 26, 2018.
Feinstein, Laura. “The Museum of Broken Windows Makes a Powerful Plea for Police Reform.” CityLab, September 25, 2018.
Cascone, Sarah. “A Pop-up Museum in New York Illustrates the Harmful Effects of Broken Windows Policing.” Artnet, September 24, 2018
Smith, Russell. “When protest art is protested.” The Globe and Mail, August 2, 2018.
Cascone, Sarah. “Editor’s Picks: 17 Things Not to Miss in New York’s Art World This Week.” Artnet, June 18, 2018.
Mufson, Beckett. “This Monumental Art Project if Putting Billboards in 52 Cities Across America.” Vice Magazine, June 4, 2018.
“Public Art Project to Commission Political Billboards in All Fifty States.” Artforum.com, June 4, 2018.
Chow, Andrew. “A Public Art Campaign Will Commission Political Billboards Across the Country.” The New York Times, June 3, 2018
Duff, Gary. “LA artist Sam Durant on the limits of creativity and his controversial art piece ‘Scaffold.’” Los Angeles Confidential, May 18, 2018.
Viso, Olga. “Decolonizing the Art Museum: The Next Wave.” The New York Times, May 1, 2018.
Goldberg, Stephen J., Art Brief: Do Not Disturb.” Artillery Magazine, May 1, 2018.
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Halperin, Julia. “How the dana Schutz Controversy – and a Year of Reckoning – Have Changed Museums Forever.” Artnet, March 6, 2018.
Eler, Alicia. “Artist says debate over Walker Art Center’s ‘Scaffold’ points to need for national ‘reconciliation process.’” The Star Tribune, February 27, 2018.
Finkel, Jori. "Sam Durant and Anne Ellegood Reflect on Being in the Hot Seat of Museum Controversies." Art Newspaper, February 23, 2018.
Vankin, Deborah. “’Into Action’ festival blends art, music and social justice; a ‘momentum builder’ for sparking activism.” LA Times, January 12, 2018.
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2017
Caldwell, Ellen C. "An Interview with Sam Durant." Riot Material, March 12, 2017.
Davis, Genie. "Continuing and Recommended: Sam Durant." ArtScene, 36, no. 5 (February 2017): 18-19.
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Li, Jennifer S. "Exhibition Reviews: Sam Durant at Blum & Poe." Art in America (March 2017): 136-137
Miranda, Carolina A. "Datebook: Objects That Remix African and American, Paintings of Shangri-La, Peter Saul Before He Was Pop." Los Angeles Times, January 5, 2017.
Remenchik, Jennifer. “Objects that Manifest the Contradictions of American History.” Hyperallergic, February 11, 2017.
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Sargent, Antwaun. "Black Poets, 19th Century Transcendentalists Inspire a Sculptural Look at Race." The Creators Project, January 31, 2017.
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2016
Schwan, Henry. “Conversation Starter.” Concord Journal, June 29, 2016, accessed June 29, 2016 http://concord.wickedlocal.com/news/20160629/conversation-starter
Almeida, Debora. “Concord’s Old Manse holds community discussions on African-American struggles.” The Boston Globe, August 11, 2016, accessed August 11, 2016 https://www.bostonglobe.com/metro/regionals/west/2016/08/11/concord-old-manse-holds-community-discussions-african-american-struggles/4NfPB2ZulvFu8vejSqhxHI/story.html
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Fair, Audrey. “Must-See Art Guide: Tokyo.” Artnet News, January 7, 2016.
Forrest, Nicholas. "Domaine du Muy Welcomes New Artworks for 2016 Season." Blouin ArtInfo, August 10, 2016.
Fort, Patrick. "Artist Sam Durant Teaches Art Critique and Learns From His Students." Aspen Public Radio (Colorado), May 20, 2016.
Gardner, Mark. "Art in the Landscape at World's End & Old Manse." Patriot Ledger [Quincy, MA], June 27, 2016.
Hiro, Rika. “Zen Interview 06: Sam Durant.” Bijutsu Techo, 1044, vol. 68 (November 2016): 28-31.
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Kimura, Eriko. "Artist Pick Up: Sam Durant." Bijutsu Techo, vol. 68 (February 2016): 108-109.
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Angeleti, Gabriella. "Jeppe Hein and Sam Durant Create Reflective Works for Historic Sites in Massachusetts." Art Newspaper, August 5, 2016.
Frank, Priscilla. “Historic ‘End White Supremacy’ Sign Reinstalled in New York City.” Huffington Post, December 5, 2016, accessed December 5, 2016 http://www.huffingtonpost.com/entry/end-white-supremacy-sign_us_5841bd75e4b017f37fe46413
Miller, M.H.. “What You Missed at Miami Art Week.” New York Times T Magazine, December 5, 2016, accessed December 5, 2016 http://www.nytimes.com/2016/12/05/t-magazine/art-basel-miami-2016.html?_r=0&module=Endslate®ion=SlideShowTopBar&version=EndSlate&action=Click&contentCollection=T%20Magazine&slideshowTitle=Scenes%20From%20Art%20Basel%20Miami%20Beach¤tSlide=Endslate&entrySlide=1&pgtype=imageslideshow
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Tully, Kathryn. “Trump-Inspired Works Sell Quickly At Art Basel Miami Beach.” Forbes, December 4, 2016, accessed December 5, 2016 http://www.forbes.com/sites/kathryntully/2016/12/04/trump-inspired-works-sell-quickly-at-art-basel-miami-beach/#61283c471320
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Brenner, Steve. “Trump Comes Under Fire From Artists at Prestigious Art Basel Miami Beach.” Heatstreet, December 4, 2016, accessed December 5, 2016 https://heatst.com/culture-wars/the-art-of-the-attack-trump-comes-under-fire-from-galleries-at-art-basel-miami-beach/
Palon, Nadia. “Here’s How Post-Election Anxiety Took Over Art Week Miami” The Creator’s Project, December 4, 2016, accessed December 5, 2016 http://thecreatorsproject.vice.com/blog/heres-how-post-election-anxiety-took-over-art-week-miami
Burton, Johanna, Shannon Jackson, and Dominic Willsdon, eds. Public Servants: Art and the Crisis of the Common Good. Cambridge: The MIT Press, 2016, 61-62, 425.
2015
Miller, John. Mike Kelley: Educational Complex. London: Afterall Books, One Work, 2015.
Foster, Hal. Bad New Days: Art, Criticism, Emergency. London: Verso Books, 2015.
Metcalfe, John. “An Artist Built a Jail Outside Philadelphia’s City Hall.” CityLab. October 8, 2015, accessed October 9, 2015. http://www.citylab.com/design/2015/10/an-artist-built-a-jail-outside-philadelphias-city-hall/409603/
Crimmins, Peter. “Philadelphia public spaces are canvas for Open Source art exhibit.” NewsWorks. October 2, 2015, accessed October 9, 2015. http://www.newsworks.org/index.php/local/item/86801-philadelphia-public-spaces-are-canvas-for-open-source-art-exhibit
Scher, Robin. “’It’s a revolutionary idea that beauty should be available to all’: Sam Durant on ‘Labyrinth,’ his new public artwork in Philadelphia about mass incarceration.” ArtNews. October 2, 2015, accessed October 9, 2015. http://www.artnews.com/2015/10/02/it-is-a-revolutionary-idea-that-beauty-should-be-available-to-all-sam-durant-on-labyrinth-his-new-public-artwork-in-philadelphia-about-mass-incarceration/
Purseglove, Laura. “A voice Remains – Pippy Houldsworth Gallery – Reactivating the Revolution.” Art Lyst. April 30, 2015, accessed on October 9, 2015. http://www.artlyst.com/articles/a-voice-remains-pippy-houldsworth-gallery-reactivating-the-revolution
Vartanian, Hrag. “A Maze in Philadelphia Focuses Attention on the Hidden Cruelty of US Prisons.” Hyperallergic, October 30, 2015, accessed November 16, 2015. http://hyperallergic.com/249555/a-maze-in-philadelphia-focuses-attention-on-the-hidden-cruelty-of-us-prisons/
Vigoda, Rachel. “Walk through Sam Durant’s “Labyrinth” for Open Source.” Metro, October 12, 2015, accessed November 16, 2015.
2014
“The opposite of love is not hate but indifference” We have met the enemy and he is us. The Hague: Stadium Generale at the Royal Academy of Art, 2014, pp 8-17.
Decter, Joshua. Art Is a Problem. Zurich: JRP I Ringier, 2014.
“Surreal World”, The Art Newspaper. August 27, 2014, accessed August 28, 2014. http://theartnewspaper.com/in-the-frame/
Knode, Marilu. “Landscape is the Victim of History” in Mound City. St Louis: Laumeier Sculpture Park, 2014, unpaginated (cat.).
Turkovic, Dana. “Our Giza” in Mound City. St Louis: Laumeier Sculpture Park, 2014, unpaginated (cat.).
Cooper, Ashton. "23 Questions for History-Inspired Artist Sam Durant." Blouinartinfo.com, August 9, 2014, accessed August 10, 2014. http://www.blouinartinfo.com/news/story/1053085/23-questions-for-history-inspired-artist-sam-durant?
Robertson, Kirsty. “The Art of the Copy: Labor, Originality, and Value in the Contemporary Art Market” in Putting Intellectual Property in Its Place. New York: Oxford University Press, 2014.
Martinez, Alanna. “Pausing to Talk Shop: Sam Durant and Robin D.G. Kelley on Surrealism at Paul Cooper.” New York Observer. September 15, 2014, accessed September 16, 2014. http://observer.com/2014/09/pausing-to-talk-shop-sam-durant-and-robin-d-g-kelley-on-surrealism-at-paula-cooper/
Rottenberg, Silvia. “Art plays with literature, history at PROA.” Buenos Aires Herald. September 9 2014, accessed September 16, 2014. http://www.buenosairesherald.com/article/169249/art-plays-with-literature-history-at-proa
Williams, Maxwell. “Art in the Trenches.” Good. September 13, 2014, accessed September 16, 2014. http://magazine.good.is/articles/sam-durant-trench-art
Osborne-Bartucca, Kristen. “Sam Durant, Proposal for White and Indian Dead Monument Transpositions, Washington D.C.” Art Fuse. August 12, 2014 accessed September 16, 2014. http://artefuse.com/2014/08/12/sam-durant-proposal-for-white-and-indian-dead-monument-transpositions-washington-d-c-123495/#comments
Rosenberg, Karen. “Sam Durant: ‘Invisible Surrealists.’” New York Times. October 10, 2014, p. C26.
Plagens, Peter. “Art Review: Gallery exhibitions of Dave Hardy, Matthew Ritchie and Sam Durant.” Wall Street Journal. October 10, 2014, accessed October 14 2014. http://online.wsj.com/articles/art-review-gallery-exhibitions-of-dave-hardy-matthew-ritchie-and-sam-durant-1412992042
Vartanian, Hrag. “The Revolutionary Postcolonial Imagination of Surrealism.” Hyperallergic, October 17, 2014, accessed October 17, 2014. http://hyperallergic.com/154167/the-revolutionary-postcolonial-imagination-of-surrealism/
2013
Krell, Cynthia. "Sam Durant: What #isamuseum?" Museum off Museum, Bielefelder Kunstverein, December 17, 2013, accessed December 17, 2013. http://www.bielefelder-kunstverein.de/ausstellungen/2013/museum-off-museum-blog/cathy-carpenter-sam-durant.html
Casavecchia, Barbara. "Sam Durant: Propaganda of the Deed." ArtReview, December, 2013, accessed December 5, 2013. http://artreview.com/reviews/december_2013_review_sam_durant/
Kooke, Sandra. "Kunstwerk will aandacht vragen voor doodstraf." Trouw, October 21, 2013, 5
Rosenberg, Herman. "Kunstwerk 'Scaffold' in de Internationale Zone." Den Haag Centraal, October 19, 2013 27
De Vries, Marina. "Ik wild at mijn vanderland het Internationaal Strafhof erkent." Volkskrant, October 18, 2013 V19
Carroll, Vicky. "Edinburgh Art Festival, Jupiter Artland, Bonnington House." The Big Issue, August 8, 2013, accessed August 8, 2013 http://www.bigissue.com/reviews/edinburgh-festivals/2821/edinburgh-art-festival-jupiter-artland-bonnington-house
Milliard, Coline. ""Gallows" Humor: Sam Durant on His Provacative Art." Artinfo, May 22, 2013, accessed May 22, 2013. http://www.blouinartinfo.com/news/story/905228/gallows-humor-sam-durant-on-his-provocative-art
Mizota, Sharon. "Sam Durant's Social Media Movement: What #isamuseum?" Artbound, KCET, July 12, 2013, accessed July 12, 2013. http://www.kcet.org/arts/artbound/counties/los-angeles/sam-durant-social-media-getty-what-isamuseum.html
Gawellek, Nelly. "Your true colors. What makes art." ArtBlog Cologne, March 26, 2013, accessed March 26, 2013. http://www.artblogcologne.com/farbe-bekennen-was-kunst-macht/
2012
Battista, Kathy. "Documenta 13 - the preview." Phaidon online, June 6, 2012, accessed June 6, 2012. http://www.phaidon.com/agenda/art/articles/2012/june/06/documenta-13-the-preview/
Marsh, Sarah and Tanya Wood. "What is art? German fair tests limits." Reuters online, June 8, 2012, accessed June 8, 2012. http://www.reuters.com/article/2012/06/08/entertainment-us-germany-art-documenta-idUSBRE8570W020120608
Knöfel, Ulrike. "Power of the Curator: What the 13th Documenta Wants You to See." DER SPIEGEL, issue 23/2012
Gopnik, Blake. "Art To Die For." The Daily Beast, June 9, 2012, accessed June 9, 2012. http://www.thedailybeast.com/articles/2012/06/09/sam-durant-at-documenta-is-the-daily-pic-by-blake-gopnik.html
Searle, Adrian. "Documenta 13: Mysteries in the mountain of mud." The Guardian online, June 11, 2012, accessed June 12, 2012. http://www.guardian.co.uk/artanddesign/2012/jun/11/documenta-13-review?newsfeed=true
2011
Andrews, Jorella. "Contemporary Art, >Counter-Environmentalism<, and the Politics of A-Signification" in Space (Re)Solutions: Intervention and Research in Visual Culture, New Brunswick and London: Transaction Publishers, 2011, pg 43-57
"Sam Durant Propaganda of the Deed at Galleria Franco Soffiantino, Turin." Mousse Magazine, December 8, 2011, accessed December 9, 2011. http://moussemagazine.it/sam-durant-propaganda-of-the-dead-at-galleria-franco-soffiantino-turin/#more-14626
Simas, Rob. "Sam Durant: Smacking Capitalism In The Face." Magnetic Magazine, November 16, 2011, accessed November 17, 2011. http://magneticmag.com/2011/11/sam-durant-smacking-capitalism-in-the-face/
Cotter, Holland. "'Stargazers': 'Elizabeth Catlett in Cnoversation with 21 Contemporary Artists'." New York Times, April 14, 2011, accessed April 15, 2011. http://www.nytimes.com/2011/04/15/arts/design/stargazers-elizabeth-catlett-in-conversation-with-21-contemporary-artists.html?_r=2&ref=hollandcotter
2010
Gilman, Claire. "Marking Politics: Drawing as Translation in Recent Art." Art Journal, Fall 2010, Vol. 69, No. 3, 118-121.
Knight, Christopher. "Zombie Architecture?." Culture Monster, November 1, 2010, accessed November 2, 2010. http://latimesblogs.latimes.com/culturemonster/2010/11/sam-durant-justin-lowe-jonah-freeman-.html
Decter, Joshua. "Sam Durant: Paula Cooper Gallery." Artforum, Summer 2010.
Laurence, Robin. "First Nations/Second Nature examines everything from frisking poses to tangled flags." Straight, February 18, 2010.
Moss, Jennifer. "Inaugural show at Audain Gallery reaches out to Downtown Eastside neighbors." The Vancouver Sun, February 4, 2010.
2009
Beradini, Andrew. "2008 California Biennial." Frieze, March 2009, 150-151.
Gaines, Charles. "Reconsidering Metaphor / Metonymy: Art and the Suppression of Thought." Art Lies, Winter 2009, No. 64, 48-57.
Knight, Christopher. "It’s freedom, or something like it." Los Angeles Times, April 17, 2009, D14.
McKinnion, Kelsey. "Culver City: Fresh Paint." C Magazine, April 2008, 28.
Sorkin, Jenni. "Ours." Frieze, March 2009, 162-163.
2008
Anderson, Virginia Billeaud. "Old, Weird America explores American folklore." Houston Weekly, May 20, 2008.
"Biennale ‘controversial’." Australia World News, June 18, 2008.
Britt, Douglas. "Artists explore a skewed history in Old, Weird America: CAMH exhibit relates skewed history." Houston Chronicle, July 9, 2008.
Delany, Max. "16th Biennale of Sydney." Frieze, September, 2008, No. 117, 190.
Duncan, Michael. "The Spectacular Wrath of Saul: Peter Saul’s History Paintings." In Peter Saul, 2008, 59. (cat.)
"Exhibit set to spark controversy." The West Australian, June 17, 2008.
Gajkowski-Hill, Sarah. "Visual Art Review: Old Weird America." Arts Houston, June 2008, 44-45.
Grabner, Michelle. "Makers and Modelers: Works in Ceramic." X-TRA, Spring 2008, 54-57.
Gardner, Anthony. "Preview: Biennale of Sydney." Artforum, May 2008.
Jasper, Adam. "More Than Spin: Sydney Biennale." Art Review, June 2008, 38.
Jinman, Richard. "Controversy hangs around Biennale poster." Sydney Morning Herald, June 24, 2008.
Kastner, Jeffrey. "Party Lines." Art & Auction, July 2008, 75-81.
Klaasmeyer Kelly. "The Old Weird America: Folk Themes in Contemporary Art, A CAMH exhibition unearths this country’s strangeness." Houston Press, June 26-July 2, 2008.
Knight, Christopher. "Don’t take it lying down." Los Angeles Times, November 5, 2008, E1, E6.
Sonnenborn, Katie. "Makers and Modelers." Frieze, March 2008, 182.
Vogel, Carol. "Inside Art: Finalists Named For Hugo Boss Prize." New York Times, January 4, 2008.
Webel, Scott. "The Old, Weird America." Fluent~Collaborative: …might be good, June 13, 2008.
Wolin, Joseph R. "Reviews: Unmonumental." Modern Painter, May 2008.
2007
Bogle, Allie. "Sam Durant." Artillery, May 2007, 33.
Bombelli, Ilaria. "Sam Durant." Flash Art, n. 262, February-March 2007, 110.
Burnham, Clint. "Sam Durant." Akimbo AKIMBLOG, March 29, 2007.
Castelli, Stefano. "Sam Durant." Exibart.com, January 18, 2007.
Dersken, Jeff. The Poetics of Bad History, Vancouver: CJ Press, 2007.
Dykk, Lloyd. "A not-so-hokey look at the dark side of the Pilgrims." The Vancouver Sun, Friday, March 30, 2007.
Falconer, Morgan. "Sam Durant." Time Out New York, April 19-25, 2007, 72.
Gaines, Malik. "Sam Durant: Shaping History." Art Review, February 2007/Issue 08, 0-57.
Hanks, Robert. "The Art of War: Bringing the Dead Home." The Independent, April 27, 2007, 2-4.
Keough, Jeffrey, "Curator’s Foreword." Sam Durant: Scenes from the Pilgrim Story: Myths, Massacres and Monuments. Boston, MA: Massachusetts College of Art, 2007, 7-9. (cat.)
Ketchum-Heap of Birds, Shanna. "On Legitimizing the Body Politic: America’s Founding Myth Reconsidered." Sam Durant: Scenes from the Pilgrim Story: Myths, Massacres and Monuments, Boston, MA: Massachusetts College of Art, 2007, 12-25. (cat.)
Lindey, Christine. "Iraq War: A vital theme." Morning Star, June 4, 2007.
"Memorial to the Iraq War." Metro London, May 24, 2007.
"Sam Durant." The New Yorker, April 30, 2007, 8.
Pagel, David. "Exposing myths of the Pilgrims." Los Angeles Times, Friday, March 16, 2007.
2006
Casavecchia, Barbara. "Manichini e installazioni rovesciano I miti made in Usa." La Repubblica, November 25, 2006, X.
Delux, Bertrand. "Sam Durant." 02, December 2006, 62.
Kurtz, Katie. "Black Panther Rank and File." Art Papers, July / August 2006, 46-47.
Johnson, Ken. "He Reconstructs Dioramas to Deconstruct Historical Myths." Boston Globe, Living Arts, Wednesday, November 22, 2006.
Johnson, Ken. "Notes from the Wunderground, and more." Boston Sunday Globe, Arts & Entertainment, Sunday, December 31, 2006.
Morgan, Margaret. "Regarding Beauty." In A Companion to Contemporary Art since 1945, edited by Amelia Jones. Malden, MA: Blackwell Publishing, 2006.
Park, Manu, ed. and the Busan Biennale Organizing Committee. "Sam Durant." Contemporary Art Exhibition, Busan Biennale 2006, Tale of Two Cities: Busan-Seoul / Seoul-Busan, Korea: Artbooks Publishing Corp., 84-85. (cat.)
Travaglini, Cristina. "Sam Durant." Mousse, n. 5, December 2006, 6-9.
2005
Casadio, Mariuccia. "Sunset Rising." Vogue (Italia), January 2005, 370-376.
Casadio, Mariuccia. "Artists On Art In 2005 (Sam Durant-Dee Williams)." Vogue (Italia), February 2005, 342.
Coles, Alex. Design Art, London: Tate Publishing, 2005, 116-117.
Gaines, Malik. "Sam Durant." In Moscow Biennial of Contemporary Art: Dialectics of Hope, Moscow: ArtChronika, 2005, 106-109. (cat.)
Johnson, Ken."Reviews: Sam Durant." New York Times, October 28, 2005, B28.
Kline, Christina. "Reviews: Sam Durant." Art Papers, January/February 2005, 54.
Kraus, Chris. "Sam Durant." In LA Artland, London: Black Dog Publishing, 2005, 170-171.
Laubard, Charlotte. "Dossier Alterminimal." 02 Revue D'Art. No. 34, 2005, 22.
Outpost, Boston, MA: Stephen D. Paine Gallery, Massachusetts College of Art, 2005. (cat.)
McFadden, Jane. "Los Angeles: Then and Now, Here and There." In LA Artland, London: Black Dog Publishing, 2005, 40-57.
Pagel, David. "A lens and a mirror." Los Angeles Times, September 7, 2005, E3.
Saltz, Jerry. "Blood Monument." The Village Voice, October 19-25, 2005, 76.
Schwendener, Martha. "Reviews: Sam Durant." Time Out New York, October 20-26, 2005, 71.
Scott, Andrea. Vitamin D: New Perspectives in Drawing, London: Phaidon, 2005, 86-89.
Goings On About Town: Sam Durant." The New Yorker, October 24, 2005, 20.
Wagner, Alex. "Re-Visionist: Sam Durant's American History." Fader, July/August 2005, 50.
2004
Baldessari, John and Meg Cranston. 100 Artists See God, New York: Independent Curators International, 2004, 17. (cat.)
Bourriaud, Nicolas. Playlist, Paris: Palais de Tokyo, February 2004, 48. (cat.)
Burke, Greg. "Entropy in Reverse." In Sam Durant: Entropy in Reverse, New Plymouth, New Zealand: Govett-Brewster Art Gallery, 2004, 5-6. (cat.)
Carter, Holland. Art; Duck! It’s Whitney Biennial Season Again." New York Times, March 7, 2004, AR 29.
Dambrot, Shana Nys. "Sam Durant at Blum & Poe." Artweek, December 2004/January 2005, 17-18.
Danto, Arthur. "The Kids Are Alright." The Nation, May 17, 2004, 32-36.
Diez, Renato. "Alla Bienale del Whitney: Torna la Pittura." Arte, April 2004, 104-111.
Doroshenko, Peter. "Interview with Sam Durant." In Sam Durant: 12 Signs, Transposed and Illuminated (with various indexes). Ghent, Belgium: S.M.A.K. (Stedelijk Museum voor Actuele Kunst), 2004, 64-68. (cat.)
Fisher, Elizabeth and Michael Harrison. Rear View Mirror, Cambridge, United Kingdom: Kettle’s Yard University of Cambridge, 2004, 3-8 & cover. (cat.)
Flatley, Jonathan. "The Agency of Letters." Afterall, Issue 10, 92-98.
Foster, Hal. "An Archival Impulse." October, vol 110, Fall 2004, 3-22.
Herrmann, Matthias. "Monica Bonvicini/Sam Durant." Camera Austria, 86/2004, 29-39.
Higa, Karin. "Interested In Signs: Sam Durant In Conversation." Wrong Times, Summer 2004, 8.
Higgs, Matthew. Likeness: Portraits of Artists by Other Artists, New York: Independent Curators International and CCA Wattis Institute, February 2004, 45. (cat.)
Kimmelman, Michael. "Touching All Bases At the Biennial." New York Times, March 12, 2004, B25, B36.
Knight, Christopher. "Binary days at the Biennial." Los Angeles Times, April 11, 2004, E43.
Knight, Christopher. "Coastal Confluence." Los Angeles Times, February 1, 2004, E41, E48, E49.
Leclere, Mary. "Speaking of Others." Afterall, Issue 10, 82-91.
Leclere, Mary. "The Time of the Now." In Sam Durant: 12 Signs, Transposed and Illuminated (with various indexes). Ghent, Belgium: S.M.A.K. (Stedelijk Museum voor Actuele Kunst), 2004, 50-62. (cat.)
Martín, Patricia. Edén, Ghent, Belgium: Snoeck-Ducaju & Zoon, N.V., April 2004, 121. (cat.)
Pagel, David. "Solidarity in rock throwing." Los Angeles Times, September 24, 2004, E28-E29.
Plath, Nils. "Rewinding Histories, Artful Disassembling: views of works by Sam Durant." Sam Durant: Entropy in Reverse. New Plymouth, New Zealand: Govett-Brewster Art Gallery, 2004, 9-25. (cat).
Probst, Ursula Maria. "Break It/Fix It." Derive, 15/2004, 27.
Smith, Roberta. "Emerging Talent, And Plenty of It." New York Times, March 12, 2004, B25, B30.
Studio, Israeli Art Magazine, May/June 2004, 12-17.
Tumlir, Jan. "Review: Sam Durant." Artforum, December 2004, 202.
Wilshire, Mark. "Review: Rear View Mirror." Art Monthly, November 2004, 281.
2003
Art Review, July/August 2003, 47.
Berwick, Carly. "Sam Durant." Vogue Hommes International, Spring/Summer 2003, 150-151.
Collins, Thom. "Sam Durant." Somewhere Better Than This Place, Cincinnati, Ohio: Contemporary Arts Center, 2003, 114-115. (cat.)
Deller, Jeremy. "Strange Fruit." Dazed and Confused, October 2003, Vol. 2, Issue 6, 140-147.
Fox, Dan. "Like a rolling stone." frieze, April 2003, 70-73.
Gaines, Malik. "Sam Durant." Tema Celeste, February 2003, 64-69.
Higgs, Matthew. "Sam Durant." Baja to Vancouver: The West Coast and Contemporary Art, San Francisco: CCA Wattis Institute, Museum of Contemporary Art San Diego, Seattle Art Museum and Vancouver Art Gallery, 2003, 48-49. (cat.)
Hofleitner,Von Johanna."Den Raum buchstablich zerlegen." Die Presse, November 29-30, 2003.
Joselit, David. "Sam Durant at Museum of Contemporary Art, Los Angeles." Artforum, January 2003, 130-132.
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.
2002
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.)
2001
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.
2000
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.
1999
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.
1998
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.
1997
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.
1996
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.
1995
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.
1994
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.
1993
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.
1992
Pagel, David."Overdose of Vagueness." Los Angeles Times, May 15, 1992.

PUBLICATIONS
2012
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.
2011
"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. http://www.thislongcentury.com/?p=4959&c=159
"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. http://latimesblogs.latimes.com/culturemonster/2011/07/it-speaks-to-me-sam-durant-on-a-1953-cold-war-poster-at-the-wende-museum-in-culver-city.html
2010
"Hans Haacke, The Power That Artists Have." Flash Art, January–February 2010, Vol. XLIII, No. 270, 50-54.
2009
DIY: ID 517 Spring 2009. Edited by Nancy Buchanan and Sam Durant. Los Angeles: Lulu, 2009.
(A project with students of CalArts)
2008
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)
2007
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.
2005
"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.
2004
"What the world needs now…Art and Politics: 22 artists respond." frieze, November/December 2004, 76-89.
2002
"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.
2001
"Saving Graces." Artforum, May 2001, XXXIX, No. 9, 151-152.

CURATORIAL PROJECTS
2009
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
2008
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.
2007
Black Panther: The Revolutionary Art of Emory Douglas, MOCA.
2006
Eat the Market, Los Angeles Contemporary Museum of Art
2004
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
1999
Not Photography, Rosamund Felsen Gallery, Santa Monica, CA
1994
The Power of Positive Thinking, FOODHOUSE, Santa Monica, CA
Paranoid, M.Y.T.H. Series, Los Angeles, CA (co-organized with Andrea Bowers)

SELECTED CONFERENCES, PANEL DISCUSSIONS, WORKSHOPS
2017
“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
2016
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.
2015
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
2014
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
2012
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
2011
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
2010
Hammer Conversations, Tom Morello and Sam Durant, Hammer Museum, Los Angeles
2009
Workshop: Art and Community Engagement, with Transforma Collective (with Rick Lowe and Jessica Cusick) UCLA Hammer Museum, Los Angeles
2008
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
2007
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
2006
Institutional Critique, Yale University, New Haven, CT
2005
InSite, University of California, San Diego, CA
2004
NAFTA, Museum of Contemporary Art, San Diego, CA
War! Protest In America, 1965-2004, REDCAT/CalArts Theater, Los Angeles, CA
2001
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
2000
Practical Criticism: Art and Theory in the 90s, Pacific Design Center, Los Angeles, CA (organized by Charles Gaines and Russell Ferguson)
1997
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)

PUBLIC COLLECTIONS
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

PUBLIC COMISSIONS
2016
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)
2015
Labyrinth, Mural Arts, City of Philadelphia, Philadelphia
2013
Scaffold, Stroom Den Haag, The Hague
2005
Public Prosecutors’ Office, City of Arnhem, the Netherlands
2003
Project Row Houses, Houston, TX
Walker Art Center, Minneapolis, MN

GRANTS AND AWARDS
2008
Hugo Boss Finalist, Solomon R. Guggenheim Foundation and Hugo Boss Prize, New York, NY
Smithsonian Artist Research Fellow, Smithsonian Institution, Washington, D.C.
2006
United States Artists Fellow, USA Foundation, New York, NY
2005
The Ordway Prize Finalist, Penny McCall Foundation, New York, NY
2002-2003
Walker Art Center Artist in Residence, Minneapolis, MN
1999
Individual Artist Grant, Department of Cultural Affairs, City of Los Angeles, Los Angeles, CA

OTHER PROJECTS
2008
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
2007
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
2006
Harlem Postcards Summer 2006, Studio Museum Harlem, New York, NY
2005
The Other Side/El Otro Lado (Regionalism, Nationalism, Imperialism), artist multiple, Chinati Foundation, Marfa, TX