Skip to main content

Biography

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.

Born
Seattle, Washington, 1961
Lives and works in Berlin and Los Angeles

Education
California Institute of the Arts, Valencia, CA, M.F.A.
Massachusetts College of Art, Boston, MA, B.F.A.

One-Person Exhibitions #

2022 Sam Durant, L21, curated by Francesco Giaveri, Palma, Spain
2021 Untitled (drone), The High Line Plinth Commission, curated by Cecilia Alemani, New York
Iconoclasm, The Common Guild, Glasgow, part of Glasgow International 2021
Proposal for Nonaligned Monuments, Free Movement, CC Strombeek, Strombeek, Belgium (cat.)
2020 Iconoclasm, Blum & Poe, LA
End White Supremacy, online exhibition at Blum & Poe on www.galleryplatform.la
Sam Durant, Paula Cooper Gallery, New York
2019 Iconoclasm, Library Street Collective, Detroit, MI (cat.)
2018 One Wall, One Work, Krakow Witkin Gallery, Boston, MA
Sam Durant, Paula Cooper Gallery, New York
2017 Like, Man, I’m Tired of Waiting, Waterloo Billboard, Hayward Gallery, London
Build Therefore Your Own World, Blum and Poe, Los Angeles (cat.)
More Than ½ The World, Sadie Coles HQ, London UK
Working Drawing for Nonaligned Research, Last Tango, Zurich (with Andrew Gilbert)
2016 Dreaming Mantas, Mexico City, Mexico (public art project as part of Alumnos47 Foundation’s Proyecto Liquido)
The Meeting House, Old Manse historic landmark, Concord, Ma (public project sponsored by Trustees of the 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 #isamuseum, The Getty Center, Los Angeles
La Stessa Storia, Museo d’Arte Contemporanea, Rome (MACRO)
Proposal for Public Fountain, Sadie Coles HQ, London UK
2011 Propaganda of the Deed, Galleria Franco Soffiantino, Torino; Centro Arti Plastiche, Carrara (2013)
Laissez Faire et Laissez Passer, Le Monde Va De Lui Meme, Blum & Poe, Los Angeles
Mirror Travels in Neoliberalism, Praz-Delavallade, Paris
2010 History Never Ends, I Hate to Bother You, Sadie Coles HQ, London UK
Dead Labor Day, Paula Cooper Gallery, New York
2009 This is Freedom?, Blum & Poe, Los Angeles
2008 Death Penalty, Praz-Delavallade, Paris
2007 Sam Durant, Sadie Coles HQ, London UK
Scenes from the Pilgrim Story: Myths, Massacres and Monuments, Blum & Poe, Los Angeles
Echoplex, Paula Cooper Gallery, New York
Scenes from the Pilgrim Story: Natural History, Catriona Jeffries Gallery, Vancouver
2006 Scenes from the Pilgrim Story: Goodbye Merry Mount, Galleria Emi Fontana, Milan
Scenes from the Pilgrim Story: Myths, Massacres and Monuments, Stephen D. Paine Gallery, Massachusetts College of Art, Boston (cat.)
2005 Presse Ne Pas Avaler, Praz-Delavallade, Paris
Proposal for White and Indian Dead Monuments Transposition, Washington D.C., Paula Cooper Gallery, New York (cat.)
Color Pictures, Catriona Jeffries Gallery, Vancouver
2004 Edward Said, The Suburban, Oak Park
Involved, Blum & Poe, Los Angeles
12 Signs: transposed and illuminated (with various indexes), Stedelijk Museum voor Actuele Kunst, Ghent (cat.)
We Are All Outlaws in the Eyes of Amerika, Galleria Emi Fontana, Milan
2003 We Are the People, Project Row House, Houston
Walker Art Center Garden Project, Artist-in-Residence, Walker Art Center, Minneapolis
Union Projects, London
Entropy in Reverse, Govett-Brewster Art Gallery, New Plymouth (cat.)
The Wrong Gallery, New York
2002 Sam Durant, Museum of Contemporary Art, Los Angeles; Sam Durant, Kunstverein für die Rheinlande und Westfalen, Düsseldorf (2003) (cat.)
Institute of Visual Arts, University of Wisconsin, Milwaukee
Color Pictures, Blum & Poe, Santa Monica
Sam Durant: 7 Signs; removed, cropped, enlarged and illuminated (plus index), Wadsworth Atheneum Museum of Art, Hartford
2001 Southern Tree, Tree of Knowledge, Dead Tree (part one), Galleria Emi Fontana, Milan
Consciousness Raising Historical Analysis, Pain plus Time Separated and Ordered with Emphasis on Reflection, Kunsthof Zurich
2000 Tomio Koyama Gallery, Tokyo
Proposal for Monument in Friendship Park, Jacksonville, FLA., Blum & Poe, Santa Monica
1999 Into the Black, Kapinos Galerie, Berlin
Altamont, Blum & Poe, Santa Monica
1998 Ohio (with Andrea Bowers), Dogenhaus Projekte / Kapinos, Berlin
1997 California Displacement Project: You Project is What You Get, Curt Marcus Gallery, New York
MDF, Particle Board, Projection, Confusion, Grid-Like Structuring, Blum & Poe, Santa Monica
1995 Blum & Poe, Santa Monica
Sam Durant, Roger Merians Gallery, New York
1994 Foodhouse, Santa Monica
1992 Please Excuse Our Appearance…, Bliss Gallery, Pasadena
Right Now, Richard Green Gallery, Santa Monica

Group Exhibitions #

2022 Keep on movin’, Fondazione Morra Greco, Naples, Italy, 29 September – 30 November, 2022
Enter the Mirror, Museum of Contemporary Art, Chicago, 10 September, 2022 - 23 July, 2023
What should I call it?, in collaboration with Decolonize Berlin, Reinbeckstrasse 43, Berlin, 15 September - 18 September 2022
Sign System, Unit, London, UK, 6 July – 6 August, 2022
2021 The Missing Circle, Kadist SF, San Francisco, CA
Die Balkone 2, Berlin (with Ana Prvacki)
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, 2021(online only)
2020 Like, man, I’m tired (of waiting), artlead, Ghent, Belgium, from 28 October 2020
El Círculo que faltaba, Museo Amparo, Puebla, Mexico, 24 October, 2020 – 8 Febuary, 2021
Visionary New England, deCordova Sculpture Park and Museum, Lincoln, MA, 8 October, 2020 – 14 March, 2021
This Is America | Art USA Today, Kunsthal Kade, Amersfoort, Netherlands, 26 September 2020 – 3 January 2021
Studio Berlin, Berghain, Berlin, Germany, from 9 September, 2020
Lost in America, curated by John Miller, NBK, Berlin, Germany, September 10, 2020 - January 17, 2021
5,471 miles, Blum & Poe, Los Angeles, July 21 - August 15, 2020
local talent, curated by Thomas Demand, Sprüth Magers, Berlin, Germany, July 4 - August 22, 2020
In Focus - Statements, Copenhagen Contemporary, 14 May - 30 Dec., 2020 (installation of Labyrinth (2016) with site specific programing)
Mythologies - The Beginning and End of Civilizations, ARoS, Aarhus, Denmark, 4 April - 6 Sept, 2020
ENCORES (part 2), Music on recurrence, redundancy and surplus, artgenève & Mamco, 31 Jan, 2020
RESTONS UNIS : Sous le Soleil Exactement, Perrotin, Paris, France, 2 July – 18 July, 2020
2019 Untold (Hi)stories, curated by Filipe Lippe and M.Bassey, M.Bassey, Hamburg
Le Magasin, Unit 5/Praz-Delavallade, Los Angeles
Sculpture Milwaukee, Milwaukee, WI
Political Affairs – Language Is Not Innocent, curated by Monica Bonvicini and Bettina Steinbrügge, Kunstverein in Hamburg* (cat.)
Dar Jacir Inaugural Exhibition, Dar Yusuf Nasri Jacir for Art and Research, Bethlehem
Forgetting, Historisches Museum Frankfurt/Main, Frankfurt
The Street. Where the world is made, MAXXI - National Museum of the 21st Century Arts, Rome (cat.)
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
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
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 (cat.)
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, Windsor, curated by Srimoyee Mitra
Da Cartografia do Poder aos Itinerários 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
A Perpetual Journey, Parse Gallery, New Orleans, curated by Emily Wilkerson
Mound City, Laumeier Sculpture Park, St. Louis, MO (cat.)
The Classical in Art, Fundación PROA, Buenos Aires
2013 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; Smithsonian, Washington, DC; Musee d’Art Moderne Grand-Duc Jean, Mudam, Luxembourg (2014); Kunsthaus Graz, Austria (2014-2015)
Edinburgh Art Festival, Jupiter Artland, Edinburgh*
Beer Show, Green Gallery, Milwaukee
Farbe Bekennen (Showing Its True Colours), MARTa, Herford
In the Good Name of the Company, For Your Art at 6020 Wilshire, Los Angeles, curated by Jan Tumlir
See You In The Hague, Stroom den Haag, The Hague
Subterranea, Visual Arts Gallery, Structural & Material Engineering Building, 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!, De Appel Arts Center, Amsterdam, curated by Huib Haye van der Werf
dOCUMENTA (13), Kassel, curated by Carolyn Christov-Bakargiev
Shake and Bake, Praz-Delavallade, Paris, 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; National Museum of Brasilia, Rio de Janeiro (2012-2013); Museu Afro Brazil, São Paulo (2014)
Mass Distractions & Cultural Decay, Mason Gross Galleries, Rutgers University, New Brunswick, curated by LaToya Ruby Frazier*
I Am Still Alive: Politics and Everyday Life in Contemporary Drawing, Museum of Modern Art, New York, curated by Christian Rattemeyer
Agitated Histories, SITE Santa Fe, Santa Fe*
The Walls That Divide Us, apexart, New York, curated by Miguel Amado
Incidentes de viaje espejo en Yucatán y otros lugares (Incidents of Travel mirroring the Yucatan and elsewhere), Museo Tamayo, Mexico City, 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
Nuit Blanche, Toronto, curated by Candice Hopkins, Nicholas Brown and Shirley Madill
The Air We Breathe, San Francisco Museum of Modern Art, San Francisco, curated by Apsara DiQuinzio (cat.)
Drawn from Photography, Drawing Center, New York, curated by Claire Gilman
Stargazers: Elizabeth Catlett in Conversation with 21 Contemporary Artists, Bronx Museum, New York, curated by Isolde Brielmaier
The Smithson Effect, Utah Museum of Fine Arts, Salt Lake City, curated by Jill Dawsey
The Workers, Massachusetts Museum of Contemporary Art, North Adams, curated by Susan Cross and Carla Herrera-Prats
2010 The Narcissism of Minor Differences, Maryland Institute College of Art, Baltimore
To the Arts, Citizens!, Serralves Museu, Porto (cat.)
The Artist’s Museum: Los Angeles, Artists 1980-2010, Museum of Contemporary Art, Los Angeles
Inquiring Eyes: Greensboro Collects Art, Greensboro
Repetition island, Centre Pompidou, Paris
Shut Your Eyes In Order to See, Praz-Delavallade, Paris**
XIV International Sculpture Biennale of Carrara, Carrara, curated by Fabio Cavallucci
Larger than Life, Stranger than Fiction: 11th Fellbach Triennial of Small Scale Sculpture, Fellbach, curated by Ulrike Groos and Heike van den Valentyn
Kurt, Seattle Art Museum, Seattle, curated by Michael Darling
Contemplating the Void, Guggenheim Museum, New York, curated by Nancy Spector and David van der Leer
First Nations / Second Nature, Audain Teaching Gallery, Simon Fraser University, Vancouver, curated by Candice Hopkins
Photography, Paula Cooper Gallery, New York
2009 Collection: MOCA’s First 30 Years, Museum of Contemporary Art, Los Angeles
Commentary, Paula Cooper Gallery, New York
Second Nature: The Valentine-Adelson Collection, Hammer Museum, Los Angeles
1999: 10 Year Anniversary Show, China Art Objects, Los Angeles
Loaded, Catriona Jeffries Gallery, Vancouver
Destroy Design, FRAC Nord-Pas de Calais, Dunkirk curated by Hilde Teerlinck (cat.); Musée de Design et d‘Arts Appliqués Contemporain, Lausanne; Kunsthal Aarhus, Arhus (2010); Taipei Fine Arts Museum, Taipei; Espace 36, Saint-Omer; Musée du Design, Gand; Maison Folie Hospice d’Havré, Tourcoing (2012)
Regift, Swiss Institute Contemporary Art, New York, curated by John Miller
Rock – Paper – Scissors, Pop Music as a Material for Visual Art, Kunsthaus Graz
2008 The Old, Weird America, Contemporary Arts Museum, Houston; DeCordova Museum, Lincoln (2009); Frye Art Museum, Seattle (2009), curated by Toby Camps (cat.)
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 Gallery, New York*
Crossroads / Rock My Religion: Interfaces between rock and contemporary art, Domus Artium Museum / Center of Contemporary Art of Salamanca, Salamanca
Index: Conceptualism in California from the Permanent Collection, Museum of Contemporary Art, Los Angeles
California Biennial, Orange County Museum of Art, Newport Beach (cat.), curated by Lauri Firstenberg
Proyecto civico / Civic Project, CECUT, Centro Cultural Tijuana, curated by Lucia Sanromán and Ruth Estévez
Since we last spoke about monuments, Stroom den Haag, The Hague, curated by Mihnea Mircan
The Art of the Real, Vanmoerkerke Collection, Oostende, organized by Bob Nickas
Close Encounters, American University Museum, Katzen Arts Center, Washington, D.C.
8th Bienal de Arte de Panamá, Panama, curated by Magali Arriola (cat.)
Freedom, Stichting Den Haag Sculptuur, The Hague (cat.)
Peripheral vision and collective body, MUSEION, Bolzano (cat.)
Biennale of Sydney, Sydney (cat.)
Ohio, Gahlberg Gallery,* College of DuPage, Glen Ellyn, curated by Brad Killam and Barb Wiesen. 
2007 Unmonumental, The New Museum of Contemporary Art, New York (cat.)
Words Fail Me, MoCAD, Detroit, curated by Matthew Higgs
Been Up So Long It Looks Like Down To Me, Presentation House Gallery, Vancouver
Modelers and Makers: Works in Ceramic, Gladstone Gallery, New York
Sculptors’ Drawings: Ideas, Studies, Sketches, Proposals, and More, Angles Gallery, Santa Monica
Resistance is…, Whitney Museum of American Art, New York
Summer of Love: Art of the Psychedelic Era, Whitney Museum of American Art, New York
Darling, take Fountain, Kalfayan Galleries, Athens
Memorial to the Iraq War, Institute of Contemporary Arts, London (cat.)
Past Over, Steve Turner Contemporary, Los Angeles
Demolition, Engholm Engelhorn Galerie, Vienna
2006 Black Panther Rank and File, Yerba Buena Center for the Arts, San Francisco; The Southeastern Center for Contemporary Art, Winston-Salem (2007); Maryland Institute College of Art, Baltimore (2007)
Busan Bienniale, Busan (cat.)
Dark Places, Santa Monica Museum of Art
Draft Deceit, Kunstnernes Hus, Oslo
Drawing and Drawn, Cerritos College Art Gallery, Norwalk
Fallout, Cold War Culture, Mitchell-Innes & Nash, New York
Good Vibrations Le arti visive e il Rock, Palazzo delle Papesse, Siena
Monuments for the USA, White Columns, New York, curated by Ralph Rugoff (cat.)
Street Signs and Solar Ovens: Socialcraft in Los Angeles, Craft and Folk Art Museum, Los Angeles
2005 Artists’ Books Re-Visited, Printed Matter, New York
War is Over 1945-2005 La Libertà dell’arte, Galleria D’Arte Moderna e Contemporanea, Bergamo (cat.)
Interstate, Nicole Klagsbrun, New York, curated by Adam McEwen
Likeness: Portraits of Artists by Other Artists, University Art Museum, CAL State University, Long Beach (cat.)
Touch of Evil, Estacion Tijuana
Think Blue, Blum & Poe, Los Angeles
En / Of, Museum Kurhaus Kleve, curated by Robert Meijer (cat.)
Post No Bills, White Columns, New York, curated by Matthew Higgs
Faces in the Crowd – Picturing Modern Life from Manet to Today, Castello di Rivoli, Turin
Echo / Anti Echo, Galerie Barbara Thumm, Berlin
Getting Emotional, ICA Boston (cat.)
Moscow Biennale, former Lenin Museum, Moscow** (cat.)
Monuments for the USA, CCA Wattis Institute for Contemporary Art, Logan Galleries, San Francisco (cat.)
Outpost, Stephen D. Paine Gallery, Massachusetts College of Art, Boston
2004 Rear View Mirror, Kettle’s Yard, Cambridge (cat.)
Communauté, Institut d’Art Contemporain Villeurbanne, Villeurbanne
Räume, Häusler Contemporary, München, curated by Martin Beck
100 Artists See God, The Contemporary Jewish Museum, San Francisco; Laguna Art Museum, Laguna; Institute of Contemporary Arts, London (2004–2005); Contemporary Art Center of Virginia, Virginia Beach (2005); Albright College Freedman Art Gallery, Reading (2005); Cheekwood Museum of Art, Nashville (2006), curated by John Baldessari and Meg Cranston and organized and circulated by Independent Curators International, New York (cat.)
Playlist, Palais de Tokyo, Paris
Through the Gates: Brown vs. the Board of Education, California African American Museum, Los Angeles (cat.)
2004 Biennial Exhibition, Whitney Museum of American Art, New York (cat.)
Faces in the Crowd, Whitechapel, London; Castello di Rivoli d’ Arte Contemporanea, Rivoli (2005)
2003 Break it / Fix it (with Monica Bonvicini), Secession, Vienna (cat.)
The Space of Writing, MKG Art Management, Houston; The Glassell School of Art of the Museum of Fine Arts, Houston (2004)
Baja to Vancouver, Seattle Museum of Art, Seattle; Museum of Contemporary Art, San Diego (2004) (cat.)
Inaugural Group Exhibition, Blum & Poe, Los Angeles
Dreams and Conflicts: The Viewer’s Dictatorship: Delays and Revolutions, The 50th International Exhibition of Visual Arts of the Biennale di Venezia, Venice, curated by Francesci Bonami and Daniel Birnbaum (cat.)
Somewhere Better Than This Place: Alternative Social Experience in the Spaces of Contemporary Art, The Contemporary Arts Center, Cincinnati (cat.)
2002 Rent-a-bench, Los Angeles, curated by Jacob Fabricius** (cat.)
A Country Lane: Sam Durant, Tobias Hauser, Richard Hoeck, John Miller, Kerstin Engholm Galerie, Vienna
Air Guitar: Art Reconsidering Rock Music, Milton Keynes Gallery, United Kingdom; Cornerhouse, Manchester Angel Row, Nottingham; Tullie House, Carlise, curated by Emma Mahony
From the Observatory, Paula Cooper Gallery, New York, curated by Robert Nickas (cat.)
Artists Imagine Architecture, The Institute of Contemporary Art, Boston (cat.)
Out of Place: Contemporary Art and the Architectural Uncanny, The Museum of Contemporary Art, Chicago; Samuel P. Harn Museum of Art, University of Florida, Gainesville (cat.)
Prophets of Boom: Werke aus der Sammlung Schurmann, Staatliche Kunsthalle Baden-Baden, (cat.)
Rock My World, CCAC, San Francisco, curated by Ralph Rugoff (cat.)
Concepts on Nature, Hausler Contemporary, Munich
The Lunatics Have Taken Over the Asylum, Works on Paper, Inc., Los Angeles
2001 9th Biennial of Moving Images, Center for Contemporary Images, Geneva (cat.)
In Between: Art & Architecture, MAK Center for Art & Architecture, Los Angeles** (cat.)
Playing Amongst the Ruins, Royal College of Art Galleries, London (cat.)
You Don’t Have to Have Cows to be a Cowboy, Galerie Parkhaus, Berlin
Superman in Bed, Kunst der Gegenwart und Fotografie Sammlung Schurmann, Museum am Ostwall, Dortmund
New Settlements, Nikolaj Copenhagen Contemporary Art Center, Copenhagen
Recent Acquisitions Featuring the Norton Gift, Berkeley Art Museum, Berkeley
R. M. S., Pestorius Sweeney House, Brisbane
Record All-Over, Mamco, Geneva
Extra Art: A Survey of Artists’ Ephemera 1960-1999, CCAC Institute, San Francisco, curated by Steven Leiber (cat.)
Take Two / Reprise, The Ottawa Art Gallery, Ottawa (cat.)
Hemorrhaging of States, TENT, Rotterdam (cat.)
2000 All Things, Everything True, CRG, New York, curated by Jessica Bronson
ForwArt, L’Espace Cultural BBL, Brussels, curated by Paul Schimmel (cat.)
Collected (in mind), Sandra Gering Gallery, New York, curated by Robert Nickas
00: Drawings 2000, Barbara Gladstone Gallery, New York (cat.)
LAEX, Ileana Tounta, Athens
1999 What Your Children Should Know About Conceptualism, Neuer Aachener Kunstverein, Aachen (cat.)
i me mine, Luckman Fine Arts Gallery, CAL State, Los Angeles, curated by Julie Joyce and Mike Mehring
Matthew Antezzo, Sam Durant, Dave Muller, Blum & Poe, Santa Monica
The Living Theatre, Salzburger Kunstverein, curated by Diana Thater (cat.)
Other Narratives: Fifteen Years, Contemporary Arts Museum, Houston, curated by Dana Friis-Hansen (cat.)
1999 COLA Exhibition, Los Angeles Municipal Art Gallery, Los Angeles (cat.)
Making History, Center for Curatorial Studies Museum, Bard College, Annandale-on-Hudson, New York
The Perfect Life, Artifice in L.A.1999, Duke University Museum of Art, Durham (cat.)
Conceptual Art as Neurobiological Praxis, Thread Waxing Space, New York, curated by Warren Neidich
Proliferation, Museum of Contemporary Art, Los Angeles, curated by Russell Ferguson
1998 Obviously 5 Believers, Action: Space, Los Angeles, curated by Brian Olson
L.A. or Lilliput?, Long Beach Museum of Art, curated by Michael Darling (cat.)
Angels Gate 8.16.98 dusk, Angels Gate Cultural Center, San Pedro
Summary, Galerie Hoffman & Senn, Vienna
Fantastic Matter of Fact: L.A. On Paper 2, Galerie Krinzinger, Vienna
Trash, Barnsdall Municipal Art Gallery, Los Angeles
Slipstream, Center for Contemporary Art, Glasgow
Urban Romantics, Lombard Freid, New York, NY
Entropy at Home, Ludwig Museum, Aachen, curated by Wilhelm Schurmann (cat.)
Architecture & Inside, Paul Morris Gallery, New York, curated by Kenneth L. Freed
Family Viewing, Museum of Contemporary Art, Los Angeles, curated by Russell Ferguson
1997 Chill, University of California Irvine, The Art Gallery, Irvine, curated by Brad Spence
Sam Durant & Anne Walsh, Four Walls, San Francisco
Quartzose: 20 Los Angeles Artists, Galleri Tommy Lund, Odense, curated by Michael Darling
Blind Date, Ellen Birrell Studio, Los Angeles, curated by Steven Hull
Scene of the Crime, Hammer Museum of Art, Los Angeles, curated by Ralph Rugoff (cat.)
Her Eyes Are a Blue Million Miles, Three Day Weekend, Malmø, Sweden; Jason & Rhodes, London;
Three Day Weekend, Los Angeles, curated by Dave Muller
Summer of Love, Fotouhi Cramer Gallery, New York
Places that are elsewhere, David Zwirner, New York, curated by Diana Thater
Next, Blum & Poe, Santa Monica
Elusive Paradise: Los Angeles Art From the Permanent Collection, Museum of Contemporary Art, Los Angeles
1996 TRUE.BLISS., Los Angeles Contemporary Exhibitions, Los Angeles (cat.)
The Power of Suggestion: Narrative and Notation in Contemporary Drawing, The Museum of Contemporary Art, Los Angeles, curated by Cornelia H. Butler (cat.)
Open House (with Andrea Bowers), Williamson Gallery, Art Center College of Art and Design, Pasadena, 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, curated by Joshua Decter (cat.)
Just Past: The Contemporary in the Permanent Collection, 1975 - 96, The Museum of Contemporary Art, Los Angeles, curated by Ann Goldstein
The Palace of Good Luck, Burnett Miller Gallery, Santa Monica
All Work–No Play, Acme, Santa Monica
Modsquad, Spanish Box, Santa Barbara, curated by Michael Darling (cat.)
Real Goods, Manhattan Village Shopping Center, Manhattan Beach
1995 Couldn’t Get Ahead, Independent Art Space, London, curated by Adam McEwen (cat.)
The Friendly Village, Milwaukee Institute of Art and Design, Milwaukee, curated by Michelle Grabner and Brad Killam
1994 Gone, Blum & Poe, Santa Monica
Constructed Views, Woodbury University, Burbank
Thanks—The Works Is Not for Sale But Up for Barter, Three-Day Weekend, Los Angeles*
Thanks Again, FOODHOUSE, Santa Monica
The Game Show, Riverside Art Museum, Riverside
Le Temps d’un Dessin, Galerie de L’Ecole des Beaux Arts de Lorient, Lorient, France
Utter Realities, Cerritos College, Cerritos, CA, curated by Randy Somme
1993 Germinal Notations, FOODHOUSE, Santa Monica
Loose Slots, Temporary Contemporary Las Vegas, organized by Richard Kuhlenschmidt
Newport Harbor Biennial, Newport Beach Art Museum, Newport Beach (cat.)
Heaven Missing, Jose Freire Gallery, New York
Melancholic Consolation and Cynicism, Kunstlerhaus Bethanian, Berlin; Ruth Bloom Gallery, Santa Monica
FOODHOUSE visits the Art Store, West Los Angeles, CA (organized by Randy Sommer)
Thank You, FOODHOUSE, Santa Monica
1992 FAR Bazaar (with Michael Coughlin, Kent Young and Andrea Bowers), Foundation for Art Resources, Federal Reserve Building, Los Angeles
Not Working in L.A. / Good Design, Nomadic Site, Pasadena
Afterthought, San Francisco Art Institute, San Francisco
1991 Window on LA, LA Art Fair, Los Angeles, organized by David Pagel
4 Person Show, Parker Zanic Gallery, Los Angeles
The Absentbury Show, Bliss Annex, Pasadena, organized by Kent Riddle and Adam Ross
Art Center, Pasadena, organized by Pae White and Jennifer Steinkamp

Bibliography #

2022 Zara, Janelle, “Tens of Thousands of Artworks Have Debuted at Art Basel Miami Beach Over the Past 20 Years. Here Are 11 of the Most Memorable″, artnet.com, November 25, 2022
Lewis, Helen, “The Scapegoat″, The Atlantic, November 2022 (p. 61-62)
Signer, David, “Der Vorwurf der «kulturellen Aneignung» ist gefährlich – er fördert rassistisches Denken durch die Hintertür″, Neue Zürcher Zeitung, August 4, 2022
2021 Eldredge, Charles C., “We gather together: American artists and the harvest″, Oakland: University of California Press, 2021. (p. 27-29)
Smith, Clive Stafford, “Lawfare and the CIA’s drone war worries″, Al Jazeera, October 24, 2021
Ezra Klein Interviews Maggie Nelson (Transcript), The New York Times, October 8, 2021
Muhammad, Ismail, “Maggie Nelson Wants to Redefine ‘Freedom’″, The New York Times, September 1, 2021
Bowman, Matthew, “Representing Destruction″, Art Monthly, # 449, September 2021
Colón, Beatriz, “Before Summer Ends, See These Five Temporary Art Installations in New York″, Cultured Magazine, July 20, 2021
Grevatt, Martha, “Ban killer drones!″, Workers World, July 19, 2021
Yablonsky, Linda, “A ghost forest and a predator: New York public art grows a conscience″, The Art Newspaper, # 336, July/August 2021
Harris-Huffman, Rachel, “Sam Durant’s Iconoclasm: The construction and destruction of art as social practice″, list.co.uk, June 23, 2021
“Künstler Sam Durant warnt vor Schrecken des Drohnenzeitalters″, Monopol, June 11, 2021
Gleason, Will, “A giant drone being installed on the High Line will hover over 30th St until August 2022.″, timeout.com, April 16, 2021.
Holmes, Helen, “A Drone Sculpture by Sam Durant Will Soon Hover Over New York’s High Line.″, The Observer, April 15, 2021.
Cascone, Sarah, “Artist Sam Durant’s Eerie Modernist Drone Will Hover Over New York as the Next High Line Plinth Commission.″, artnet.com, April 14, 2021.
Sheets, Hilarie M., “First to Rise After a Fray: A Drone.″, The New York Times, April 15, 2021.
Peters, Katie, “An Afternoon at the DeCordova″, The 1851 Chronicle, March 1, 2021.
Ritz, Jessica, “A Legend Shines Again.″, Palm Springs Life, January 29, 2021.
2020 Zellen, Jodie, “Sam Durant.″, artillery, November 2, 2020.
Buhr, Elke, “Guten Morgen, Berlin.″, Monopol, September 2020.
Reichert, Kolja, “Dinge.″, Frankfurter Allgemeine Sonntagszeitung, August 16, 2020.
Davis, Genie, “’Semblance
Werneburg, Brigitte, “Erfreulich frische Leichtigkeit.″, taz die Tageszeitung, July 21, 2020.
Pofalla, Boris, “Der Boden unter den Füßen bleibt.″, Die Welt online, July 12, 2020.
Harris, Gareth, “Drawings of ‘eruptions of violence’ against statues fill Sam Durant’s new book.″, theartnewspaper.com, July 10, 2020.
Pofalla, Boris, “Was uns Halt gibt.″, Welt am Sonntag, July 5, 2020.
Smith, Melissa, “Legendary Black Panther Artist Emory Douglas on How Digital Media Can Be Harnessed to Make Protest Art Far More Effective Than Ever.″, artnet.com, June 30, 2020.
Berg, Allison, “The Importance of Charles Gaines Legacy According to Artists.″, Lala Magazine, Winter 2020.
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
DeVito, Lee. “Artist Sam Durant looks at moments of ‘Iconoclasm’ throughout history in Library Street Collective exhibition.″ Metrotimes.com, October 30, 2019.
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.
Steinhauer, Jillian. “The ethics of appropriation.″ The Art Newspaper, March 7, 2018.
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.
Campodonica, Christina. “The Art of ‘Difficult Things.’″ The Argonaut, May 16, 2018.
Leith, Ron. “The Walker Art Center Scaffold Exhibition and How It Offended the Dakota Nations.″ Whispernthunder.org, January 15, 2018
2017 Tylevich, Katya. “Destination—LA: Sam Durant.” Elephant Magazine 32 (Autumn 2017): 184-186. 
Dunne, Susan. “‘Mirror Mirror’ On Wadsworth’s Walls.” Courant.com, December 18, 2017
Hoffman, Jens. “Not Your Story.″ Mousse Magazine 60 (October – November 2017): 148-154.
Hopkins, Candice. “The Appropriation Debates.″** Mousse Magazine 60 (October – November 2017): 155-163.
Ross, Jenna. “What will Olga Viso’s legacy be? Her last year at the Walker was telling.″ StarTribune, November 20, 2017
Grant, Daniel. “A Conversation with Sam Durant: Political Art Has Consequences.″ Sculpture Magazine Vol. 36, No. (November 2017): 48-55.
“Best of 2017: Our Top 10 Los Angeles Art Shows.″ Hyperallergic, December 20, 2017.
Battaglia, Andew, Sarah Douglas & Andrew Russeth. “After Announcement that Olga Viso Will Step Down as Walker Director, Museum Professionals Largely Praise Handling of ‘Scaffold’ Controversy.″ ArtNews, November 17, 2017.
Chow, Andrew. “Olga Viso, Embattled Leader of Walker Art Center, Steps Down.″ The New York Times, November 14, 2017.
Shaw, Anny. “Art world fights back in US culture crisis.″ The Art Newspaper, December 9, 2017.
Eler, Alicia. “2017 moments: ‘Scaffold’ ignited a debate about art and cultural appropriation.″ StarTribune, December 28, 2017.
Waxman, Lori. “The year in visual art was a dizzying reflection of today.″ Chicago Tribune, December 14, 2017.
Grant, Daniel. Take It Down!″ Commonweal, December 13, 2017.
Shanahan, Mark. “Artist Sam Durant is Recipient of Rappaport Prize.” Boston Globe, July 27, 2017.
Swanson, Carl. “Is Political Art the Only Art That Matters Now?” New York Magazine, April 17, 2017.
“Sam Durant Wins DeCordova Sculpture Park’s 2017 Rappaport Prize.″ Artforum.com, July 27, 2017.
Miranda, Carolina A. “Artist Sam Durant Was Pressured into Taking Down His ‘Scaffold.’ Why Doesn’t He Feel Censored.″ Los Angeles Times, June 17, 2017.
Maerkle, Andrew. “The Manifest Destiny of Borrowed Scenery, Part I & II″. ART iT Magazine, September 2017
Reichert, Kolja. “Ich fühle mich nicht zensiert,″ transl. “I do not feel censored″, FAZ, June 21, 2017. Front Page.
Kennedy, Randy. “High Line to have Permanent Art Plinth,″ The New York Times, January 10, 2017; pg C3
Van Houten Maldonado, Devon. “Sam Durant Speaks About the Aftermath of His Controversial Minneapolis Sculpture,″ Hyperallergic, July 14, 2017.
Johnson, Kate. “Burn, break, bulldoze: is it ever okay to destroy a piece of art?″ TheConversation.com, July, 31, 2017.
Greenberger, Alex. “Sam Durant Wins deCordova Sculpture Park’s $25,000 Rappaport Prize,″ ArtNews, July 27, 2017.
“Sam Durant, Pat Brassington and Mitch Cairns are awarded for contributions to the US and Australian art scenes,″ Harper’s Bazaar, August 6, 2017.
“Dakota community to bury Sam Durant’s ‘Scaffold’,″ Apollo Magazine, September 5, 2017.
Voon, Claire. “Dakota Elders Decide to Bury Sam Durant’s Controversial Sculpture,″ Hyperallergic, September 5, 2017.
“Sculpture that sparked protests will be buried, not burned,″ San Francisco Chronicle, September 3, 2017.
Eler, Alicia. “Wood from controversial ‘Scaffold’ sculpture to be buried in secret location,″ StarTribune, September 1, 2017.
Hinderaker, John. “Is Truth the First Casualty of Art.″ American Experiment, May 30, 2017.
“Sam Durant’s Scaffold to be Dismantled and Burned in Dakota-Led Ceremony.″ Artforum.com, June 1, 2017.
“Dakota Nation Debates Whether to Burn Sam Durant’s Scaffold.Artforum.com, June 6,, 2017.
“Dakota Nation Demands Removal of Sculpture at Walker Art Center.″ Artforum.com, May 29, 2017.
Cascone, Sarah. “After ‘Scaffold’ Controversy, All Eyes on the Walker as Its Sculpture Garden Is Set to Open.″ Artnet, June 9, 2017.
Cascone, Sarah. “Walker Art Center’s Controversial Gallows Sculpture Will Be Removed and Ceremonially Burned.″ Artnet May 31, 2017.
Angeleti, Gabriella. “Sam Durant’s Scaffold to be buried, not burned.″ The Art Newspaper, September 5, 2017.
Stoilas, Helen. “Walker Art Center postpones opening of sculpture park after Native American Protests.″ The Art Newspaper, May 30, 2017
Viso, Olga. “Why taking down Sam Durant’s Scaffold was the right thing to do.″ The Art Newspaper, August 30, 2017.
Stoilas, Helen. “Sam Durant’s controversial sculpture to be dismantled and burned.″ The Art Newspaper, May 31, 2017.
“Sam Durant’s Scaffold to be dismantled and burned in ceremony.″ Art Review, June 1, 2017
Le Gall, Pauline. “ A Work by Sam Durant Sparks Debate on Cultural Appropriation.″ ARTVIATIC, June 12, 2017.
“Scaffold to be moved from Minneapolis Sculpture Garden.″ Blouin Artinfo, September 7, 2017.
Armbruster, Jessica. “Controversial Sculpture Garden piece to be dismantled and burned.″ City Pages, May, 31, 2017
Mullen, Mark. “Read Marlon James on ‘woke credentials,’ and how liberals fight hardest against each other.″ City Pages, May 30, 2017
“The Walker’s scaffold art may be offensive to some, but it worked.″ City Pages, May 31, 2017.
Fairbanks, Ashley. “Genocide and mini-golf in the Walker Sculpture Garden.″ City Pages, May 27, 2017.
Rivera, Erica. “Los Angeles Artist Sam Durant Under Fire for “Scaffold″.″ Crave, May 31, 2017.
Hagstrom, Anders. “Indian Tribe Dismantles ‘Offensive’ Sculpture, May Burn It Too.″ The Daily Caller, June 6, 2017.
Papnefuss, Mary. “Minnesota Museum To Remove Gallows Exhibit After Native American Protest.″ Huffington Post, May 29, 2017.
Regan, Sheila. “After Protests from Native American Community, Walker Art Center Will Remove Public Sculpture.″ Hyperallergic, May 29, 2017.
Steinhauer, Jillian. “Controversial Sculpture in Minneapolis Will Be Dismantled and Ceremonially Burned.″ Hyperallergic, June 1, 2017.
Sutton, Benjamin. “Dakota Nations Suspends Burning of Wood from Controversial Minneapolis Sculpture.″ Hyperallergic, September 9, 2017.
Regen, Shelia. “In Minnesota, Listening to Native Perspectives on Memorializing the Dakota War.″ Hyperallergic, June 16, 2017.
Steinhauer, Jillian. “Sam Durant Doesn’t Need Defending.″ Hyperallergic, June 8, 2017.
Regan, Sheila. “After a Dakota Ceremony, Dismantling of the Controversial Sculpture Begins in Minneapolis.″ Hyperallerigic, June 5, 2017.
LeMay, Konnie. “’Scaffold’ Sculpture Taints Memory of Dakota 38, Prompts Protests.″ Indian Country Today, May 30, 2017.
Cills, Hazel. “Walker Art Center Will Remove Sculpture After Protests from Native American Artists.″ Jezebel, May 30, 2017.
Christenson, Jerome. “Jerome Christenson: We should be ashamed.″ LaCrosse Tribune, June 7, 2017.
Miranda, Carolina A.. “Sam Durant sculpture of gallows in Minneapolis to be dismantled and ceremonially burned.″ Los Angeles Times, June 1, 2017.
Schmierbach, Edie. “’Scaffold’ sculpture opens old wounds.″ Mankato Free Press, May 31, 2017.
LeFevre, Camille. “Minneapolis Sculpture Garden Set to Reopen After Controversy Over Sam Durant Sculpture “Scaffold″.″ Midwest Home, June 9, 2017.
Lauer, Katie. “Walker to remove controversial gallows sculpture.″ Minnesota Daily, June 9, 2017.
Espeland, Pamela. “Walker to discuss ‘Scaffold’ sculpture’s future with Dakota Elders.″ MinnPost, May 30, 2017.
Espeland, Pamela. “’Scaffold comes down; the M to start building.″ MinnPost, June 6, 2017.
Espeland, Pamela. “The ‘Scaffold’ controversy’s evolution; Sheryl Sandberg book talk at the Fitz.″ MinnPost, June 1, 2017.
Kerr, Euan. “’Scaffold sculpture’s wood to be buried, Dakota official says.’ MPR, September 1, 2017,
Wastvedt, Solvejg. “History we don’t teach: Mankato hangings an uneasy topic for MN schools.″ MPR, June 9, 2017.
“Mankato professor: ‘Scaffold’ inspires shock, anger and hope.″ MPR, June 2, 2017.
Porter, Sara. “Minneapolis Sculpture Garden started with a dream to educate others.″ MPR, June 6, 2017.
Kerr, Euan. “Sculptor, director reflect on the ‘Scaffold’ experience.″ MPR, June 5, 2017.
Kerr, Euan. “Speeches, a ceremony and ‘Scaffold’ starts to come down.″ MPR, June 2, 2017.
Kerr, Euan. “Walker Art Center’s ‘Scaffold’ to be dismantled, burned.″ MPR, May 31, 2017.
Nelson, Tim. “Walker Art Center’s sculpture garden to reopen later, following ‘Scaffold’ controversy.″ MPR, May 29, 2017.
Nelson, Tim. “Walker director says ‘Scaffold’ should be dismantled.″ MPR, May 27, 2017.
Kerr, Euan. “Walker expected to announce ‘Scaffold’ fate Wednesday.″ MPR, May 31, 2017.
Collins, Bob. “When art offends.″ MPR, May 26, 2017.
Ringham, Eric. “Why ‘Scaffold’ struck so raw a nerve.″ MPR, May 30, 2017.
Xaykaothao, Doualy. “With ‘Scaffold’ gone, questions about art remain.″ MPR, June 8, 2017.
Sepic, Matt. “Workers make quick progress dismantling ‘Scaffold’ at Walker.″ MPR, June 4, 2017.
Kerr, Euan. “’Scaffold’ artist vows never to erect sculpture again.″ MPR, June 1, 2017.
Gonzales, Antonia. “Dakota elders call art installation resolution a ‘success’.″ National Native News, June 1, 2017.
Eldred, Sheila M. “Dakota Plan to Bury, Not Burn, ‘Scaffold’ Sculpture.″ The New York Times, September 1, 2017.
Sheets, Hilarie M. “Emmet Till’s Coffin, a Hangman’s Scaffold and a Debate Over Cultural Appropriation.″ The New York Times, May 31, 2017.
Malik, Kenan. “In Defense of Cultural Appropriation.″ The New York Times, June 14, 2017.
Chow, Andrew R. “Walker Art Center Delays Opening of Sculpture Garden Following Controversy.″ The New York Times, May 30, 2017.
Sheets, Hilarie M. “Dakota People Are Debating Whether to Burn ‘Scaffold’ Fragments.″ The New York Times, June 5, 2017.
Eldred, Sheila M. “Walker Art Center’s Reckoning With Scaffold Isn’t Over Yet.″ The New York Times, September 13, 2017.
McCartney, Claire. “″Traumatizing″ Gallows Sculpture by White Artist Angers Native American Dakota Community.″ Paper Magazine, May 30, 2017.
“Our View: Walker’s error is ‘learning moment’ for Minnesota.″ Post Bulletin, May 30, 2017.
DeCora Guimaraes, Valerie. “Scaffold was wrong in 1862 and it’s offensive today.″ Post Bulletin, June 2, 2017.
“Walker apologizes for pain, disappointment.″ Post Bulletin, May 31, 2017.
Katz, Bridget. “Amid Controversy, Minneapolis Museum Removes Sculpture Based on Execution of 38 Dakota Men.″ Smithsonian Magazine, May 31, 2017.
Walker, Lars. “Does This Scaffold Sway the Future?″ Spectator, June 15, 2017.
Eler, Alicia. “’Let it burn’: U.S. art critics respond to the Walker’s takedown of ‘Scaffold’.″ StarTribune, June 1, 2017.
Beccue, Boyd. “’Scaffold’ may have inspired others to think about injustice.″ StarTribune, June 2, 2017.
Eler, Alicia. “’Scaffold’ sculpture to be dismantled, then burned in a Dakota-led ceremony.″ StarTribune, June 1, 2017.
Sawyer, Liz. “After outcry and protests, Walker Art Center will remove Scaffold’ sculpture.″ StarTribune,, May 28, 2017.
Eler, Alicia. “Dakota elders meet to ponder fate of ‘Scaffold’ materials.″ StarTribune, June 26, 2017.
Ross, Jenna. “Date and location set fro Dakota elders to decide fate of ‘Scaffold’ wood.″ StarTribune, June 25, 2017.
Eler, Alicia. “Following ‘Scaffold’ controversy, artist Sam Durant wins $25,000 prize.″ StarTribune, August 14, 2017.
Pheifer, Pat. “House members decry ‘Scaffold’ as Dakota elders meet about it.″ StarTribune, May 31, 2017.
Eler, Alicia. “Lessons from the ‘Scaffold’ controversy: ‘Museums are inherently colonial institutions.’″ StarTribune, June 30, 2017.
Eler, Alicia. “National Coalition Against Censorship criticizes Walker decision to remove ‘Scaffold.’″ StarTribune, June 14, 2017.
Eler, Alicia. “’Scaffold’ sculpture may not be burned after all, as Dakota take time to consider.″ StarTribune, June 7, 2017.
Eler, Alicia. “Walker Art Center postpones sculpture garden opening after ‘Scaffold’ protests.″ StarTribune, May 30, 2017.
Ross, Jenna. “Walker director admits to pain of ‘learning in public.’″ StarTribune, June 6, 2017.
Eler, Alicia. “Walker Art Center director regrets not discussing ‘difficult’ new sculpture with American Indians.″ StarTribune, May 27, 2017.
Eler, Alica. “’I take full responsibility,’ Walker director says of ‘Scaffold’ controversy.″ StarTribune, June 5, 2017.
Eler, Alicia. “Where the Walker went wrong: Eight questions posed by the Minneapolis Sculpture Garden controversy.″ StarTribune,, June 5, 2017.
Ross, Jenna. “Whay Dakota elders want to burn controversial ‘Scaffold’ sculpture.″ StarTribune, June 4, 2017.
Eler, Alicia. “With prayers, drums and chainsaws, dismantling of ‘Scaffold’ begins.″ StarTribune, June 6, 2017.
Specktor, Mordecai. “Offensive Art.″ The Circle, June 1, 2017.
Whipple, Cat. “″Scaffold″ at Walker Art Center to be dismantled and burned.″ The Circle, June 1, 2017.
Viso, Olga. “An Open Letter on Sam Durant’s Scaffold.″ The Circle, May 27, 2017.
Bruch, Michelle. “Sculpture Garden’s “Scaffold″ to be dismantled and burned.″ The Journal, June 1, 2017.
Grant, Daniel. “Resisting the art mob.″ The New Criterion, June 15, 2017.
“One man’s art…″ The Journal, May 31, 2017.
Bruch, Michelle. “’Scaffold’ sculpture offends viewers, delays Sculpture Garden reopening.″ The Journal, May 30, 2017.
Scott, Andrea K. “Does an Offensive Sculpture Deserve to be Burned?″ The New Yorker, June 3, 2017.
Coker, Aaron. “Everything You Need to Know about the Gallows Being Removed from the Sculpture Garden.″ Twin Cities Geek, May 30, 2017.
McCue-Enser, Margaret and Nick Coleman. “McCue-Enser, Coleman: From the razing of ‘Scaffold,’ and an opportunity to build.″ Twin Cities, June 11, 2017.
Ross, Brooke and Caroline Taiwo. “Walker’s ‘Scaffold’ dismantled in ceremony led by Dakota community after week of protest.″ Twin Cities Daily, June 8, 2017.
Camhi, Leslie. “Controversy at the Walker Art Center as it Reopens it Garden.″ Vogue, June 10, 2017.
Zara, Janelle. “The Walker Art Center’s sculpture park turns over a new leaf.″ *Wallpaper, June 14, 2017.
Cohen, Richard. “Thank God for cultural appropriation.″ The Washington Post, June 5, 2017.
Eckardt, Stephanie. “Here’s One Way to Deal with Problematic Artworks, Like Sam Durant’s Scaffold: Burn Them.″ WMagazine, June 1, 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.
Duncan, Thomas. “Sam Durant at Blum & Poe.” Carla, February 1, 2017.
Kordic, Angie. “Blum and Poe LA Opens a Sam Durant Exhibition.” Widewalls, January 2017.
Krug, Simone. “Critics’ Picks: Sam Durant.” Artforum, January 2017.
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.
“Sam Durant’s New Works on View at Blum & Poe, Los Angeles.” Blouin Artinfo, January 20, 2017.Sargent, Antwaun. “Black Poets, 19th Century Transcendentalists Inspire a Sculptural Look at Race.” The Creators Project, January 31, 2017.
Bawden, Alexander. “Sam Durant: More than ½ the World at Sadie Coles HQ.″ The UpComing, March 17, 2017.
Breen, Matt. “Sam Durant More Than ½ the World.″ TimeOut London, accessed April 6, 2017 https://www.timeout.com/london/art/sam-durant-more-than-1-2-the-world
Daheley, Tina. “An Act of Censorship Or Cultural Sensitivity?″ The Cultural Frontline (BBC World Service), September 2, 2017.
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
McQuaid, Cate. “From America’s beginning to World’s End″ Boston Globe, October 13, 2016, accessed October 13, 2016 https://www.bostonglobe.com/arts/art/2016/10/12/from-america-beginning-world-end/xfUrB0HuRtR1BKauJUGq8H/story.html
Colby, Celina. “Meet me at ‘The Meeting House’ History gets rewritten at Concord art installation″ The Bay State Banner, October 6, 2016, p. 24.
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.Jansen, Charlotte. “Finding a Quiet Place for Contemplation at Art Basel 2016.”  MutualArt.com, Jun 16, 2016.Kimura, Eriko. “Artist Pick Up: Sam Durant.” Bijutsu Techo vol. 68 (February 2016): 108-109.
Cheng, Scarlet. “Top 10 Most Anticipated Highlights for Art Basel 2016.” Robb Report, June 8, 2016. 
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
The Daily Beast. “Politics Fires Up Art Basel Miami 2016.″ The Daily Beast, December 4, 2016
Schachter, Kenny. “Kenny Schachter on Celebritism and ‘Arting’ at Art Basel in Miami Beach″ artnet, December 5, 2016
Tully, Kathryn. “Trump-Inspired Works Sell Quickly At Art Basel Miami Beach″ Forbes, December 4, 2016
Miller, Isis. Art Basel Miami Beach 2016 Brought Political Issues to the Forefront″ Miami New Times, December 4, 2016, accessed December 5, 2016 http://www.miaminewtimes.com/arts/art-basel-miami-beach-2016-brought-political-issues-to-the-forefront-8968611
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.
Vroonen, Erno, and Anna Wondrak, eds. Van Tuyckom-Taets Collection. Belgium: Leo Van Tuyckom, 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 vaderland 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 Provocative Art.″ Artinfo, May 22, 2013, accessed May 22, 2013.
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/
Gantheret, Fiana. “Scaffold: an architectural perspective on the death penalty in The Hague.″ Creating Rights, November 11, 2013, accessed on October 9, 2015. http://creatingrights.com/2013/11/11/scaffold-an-architectural-perspective-on-the-death-penalty-in-the-hague/#more-154
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, 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 Conversation 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.″ in 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.″ in 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.″ in 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 Artlan., London: Black Dog Publishing, 2005, 170-171
Laubard, Charlotte. “Dossier Alterminimal.″ 02 Revue D’Ar,. 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.″ in 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.″ in 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.″ in 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.″ in 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.″ in 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.″ in Air Guitar: Art Reconsidering Rock Music. England: Milton Keynes Gallery, 2002, 7-11 (cat.)
Molon, Dominic. “Deceptive Spaces, Dysfunctional Places.″ in 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.″ in 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.″ in Prophets of Boom: Werke aus der Sammlung Schürmann, Baden-Baden, Switzerland: Kunsthalle Baden-Baden, Summer 2002, 70-81
Young, Kevin. “Cover Song.″ in 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
Römer, Stefan. “What Your Children Should Know About Conceptualism/Neuer Aachener Kunstverein, Aachen.″ Kunstforum, December/January 1999-2000, p. 348
Schöllhammer, 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,″ in 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, Monographic #

2022 “Proposal for Non-Aligned Monuments, Free Movement″ CC Strombeek, Belgium (monograph)
2020 “Iconoclasm“, Library Street Collective, Detroit (monograph)
2017 “Build Therefore Your Own World″, Black Dog Books, London (monograph)
2008 “Tell it Like it Is!″ Arnhem: Kunstcommissie van het Paleis van Justitie in Arnhem (monograph)
2007 “Sam Durant: Scenes from the Pilgrim Story: Myths, Massacres and Monuments″. Boston: Massachusetts College of Art, (monograph)
2005 “Proposal for White and Indian Dead Monument Transpositions, Washington, D.C.″ (essay) Paula Cooper Gallery, New York (monograph)
2004 “Sam Durant, Entropy in Reverse″, New Plymouth: Govett-Brewster Art Gallery (monograph)
“Monica Bonvicini/Sam Durant Break It/Fix It“, Vienna, Secession (monograph)
“Sam Durant: 12 Signs: Transposed and Illuminated (with various Indexes)″ Gent: S.M.A.K. (monograph)
2002 “Sam Durant″ Los Angeles: Museum of Contemporary Art; Düsseldorf: Kunstverein für die Rheinlande und Westfalen; Ostfildern-Ruit: Hatje Cantz Publishers, 2002. (monograph)

Publications, Edited By #

2021 “Untitled (drone) Artist’s ‘Zine″, High Line Art, New York
2019 “Aesthetic Dimension: Sam Durant präsentiert Herbert Marcuse″, Hamburg: Materialverlag der HFBK, 2019.
2012 “Freedom?″, Kassel, A project to accompany Scaffold at dOCUMENTA (13), 2012.
“Transforma″, New Orleans: Transforma Projects
“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.

Publications, Articles, Interviews and Book Chapters #

2020 “Sam Durant Revisits the “Scaffold″ Controversy Three Years Later″, Hyperallergic Podcast by Hrag Vartanian, October 23
2019 “The death (or transformation) of an artwork as a political idea..″ (essay) in The Death of the Artist , Cabinet Books, New York
Hans Haacke and the Faces of Neoliberalism″ (essay) in Hans Haacke: All Connected, Phaidon, London
2018 “Art Is a Schoolhouse and a Tomb″ (essay) in Siah Armajani, Follow This Line, Walker Art Center, MN
2012 “Sam Durant and Wochenklausur.″ Shifter18: Intention, Shifter Magazine, 2012, 101-104
“The Church of Ethical Cynicism.″ Written 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. http://www.thislongcentury.com/?p=4959&c=159
“Américas/Americas.″ in 8a Bienal de Arte de Panamá/8th Panama Art Biennial. Panama: Fundacion Arte y Cultura, 2011, p. 48-53
“It Speaks to Me: Sam Durant on a 1953 Cold War poster at the Wende Museum in Culver City.″ Culture Monster, July 20, 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, p. 50-54
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.″ essay 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 The Permanent Record of Newjack Rasputin: the Work of Tucker Stilley, Monte Vista, Los Angeles
Black Panther: The Revolutionary Art of Emory Douglas, The New Museum, New York
2008 All Power to the People: The History and Legacy of the Black Panther Party Film Festival, Roy and Edna Disney / CalArts Theater, Walt Disney Concert Hall, Los Angeles
2007 Black Panther: The Revolutionary Art of Emory Douglas, MOCA, Los Angeles
2006 Eat the Market, Los Angeles County Museum of Art, Los Angeles
2005 Touch of Evil, Estación Tijuana
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
1999 Not Photography, Rosamund Felsen Gallery, Santa Monica
1994 The Power of Positive Thinking, FOODHOUSE, Santa Monica
Paranoid, M.Y.T.H. Series, Los Angeles, co-organized with Andrea Bowers

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 Contemporary Art, Chicago
The Museum of Contemporary Art, Los Angeles
The Museum of Contemporary Art, San Diego
Museum of Modern Art, New York
Nasher Museum of Art at Duke University, Durham
Orange County Museum of Art, Costa Mesa
The Ottawa Art Gallery, Ottawa
Project Row Houses, Houston
Rochester Memorial Art Gallery. Rochester
Sheldon Museum of Art, Lincoln
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 Commissions #

2022 8x5 - Artists Against Mass Incarceration, Miami, FL, commissioned by Art at a Time Like This
2018 Poder, Detroit, as part of 50 Billboards commissioned by For Freedoms
Consider Listening, Chicago, as part of IN/SITU commissioned by the City of Chicago and EXPO Chicago
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
2014 Free Hanging Chain, Laumier Sculpture Park, St. Louis, MO
2013-14 Scaffold, Stroom Den Haag, The Hague
2005 Public Prosecutors’ Office, City of Arnhem, Netherlands
2003 Project Row Houses, Houston
Walker Art Center, Minneapolis

Grants and Awards #

2018 Rockefeller Foundation Bellagio Center Residency, Bellagio, Italy
2017 Rappaport Prize, DeCordova Museum, Lincoln, MA
2008 Hugo Boss Finalist, Solomon R. Guggenheim Foundation and Hugo Boss Prize, New York
Smithsonian Artist Research Fellow, Smithsonian Institution, Washington, D.C.
2006 United States Artists Fellow, USArtists Foundation, Los Angeles
2005 The Ordway Prize Finalist, Penny McCall Foundation, New York
2002-2003 Walker Art Center Artist in Residence, Minneapolis
1999 Individual Artist Grant, Department of Cultural Affairs, City of Los Angeles

Other Projects #

2011 Cointelpro 101: Southern California Tour, REDCAT, Los Angeles
2005-2010 Founding member of Transforma Projects, a cultural rebuilding collective in New Orleans
2006 Harlem Postcards Summer 2006, Studio Museum Harlem, New York
2005 The Other Side / El Otro Lado (Regionalism, Nationalism, Imperialism),** artist multiple, Chinati Foundation, Marfa

Teaching #

2000-present Regular Faculty, School of Art, California Institute of the Arts, Valencia
2022 BPA// Berlin program for artists
2018-2020 Guest Professor, University of Fine Arts, Hamburg (HFBK), Hamburg
2017 Guest Professor, SOMA summer program, Mexico City, MX
2016 Teiger Visiting Artist, Cornell University Department of Architecture, Art and Planning, Ithaca, NY
2004 Visiting Artist in Undergraduate Studies, Art Center College of Art and Design, Pasadena (Summer Term)
2002 Studio Visits in Graduate Studies Program, Art Center College of Art and Design, Pasadena (Summer Term)
1997 Adjunct in Graduate Studies Program, Art Center College of Art and Design, Pasadena (co-taught with Liz Larner, Summer Term)
1995-2000 Technical Faculty, Technical Director of Super Shop, School of Art, California Institute of the Arts, Valencia

Selected Conferences, Panel Discussions, Workshops, Residencies #

2022 Remote Control: Surveying Drones and Culture Today, moderated by Melanie Kress, with Omer Fast and Sonia Kennebeck, Vera List Center for Art and Politics, NY, NY
Surrealism Beyond Borders: Surrealism and Time, moderated by Dawn Adès, with Marie Mauzé, Partha Mitter and Michael Stone-Richards, The Metropolitan Museum of Art, NY, NY
2021 The Normalizing Gaze: Art, Artists, and Conflict, moderated by Melanie Kress, with Coco Fusco and Naeem Mohaiemen, High Line Art, NY, NY
2020 Speaking Our Minds: Artists, Racial Divides, and Cultural Inclusion, moderated by Sarah Montross, with Sonya Clark, Maria Magdalena Campos-Pons and Daniela Rivera, Rappaport Foundation & deCordova Sculpture Park and Museum, Lincoln, MA
2019 Dar Jacir Artists Residency, Bethlehem, Palestine
Kwame Nkrume University of Science and Technology, Kumasi, Ghana. Seminar with students of KNUST and HfBK, Hamburg
When the Symbolic gets Really Real Redux, The Cultural and Humanitarian Agents Seminar, Harvard University, Cambridge, MA. Discussion with philosopher Nick Smith
World Frontiers Forum-Berlin, Explorations: Consciousness, Nudging and Experience
Pop Tech Conference: Shift, Northport, ME
Library Street Collective, Detroit, MI
2018 When the Symbolic gets Really Real, The Cultural and Humanitarian Agents Seminar, Harvard University, Cambridge, MA
Who Can Speak for Whom? Artistic Freedom and the Challenges of Dealing with the Pain of Historical Trauma, as part of the College Art Association Conference, moderated by Svetlana Mintcheva, National Coalition Against Censorship, Los Angeles, CA“Artists and Authorship: reference, relationships and appropriation in contemporary sculptural practice,″ Nasher Prize Dialogues, panel discussion with Katrina Brown (Director, The Common Guild), Christine Borland, Sam Durant and Mark Leckey. Part of the Glasgow International, organized by The Common Guild, Glasgow, Scotland and Nasher Sculpture Center, Dallas, TX
Get Up, Stand Up: Rights and Responsibilities Citizenship, with Eric Gottesman and Manita Sanghvi. Moderated by Isolde Brielmaier. Tang Teaching Museum, Skidmore College, Saratoga Springs, NY
2017 “Yokohama Round 4: The Connecting World and the Isolating World, Part 3: Revisiting Different Histories″ Yokohama Triennale, Yokoham Museum of Art, panel discussion with Oliver Chanarin, Christian Jankowski, Kathy Prendergast, moderated by Osako Eriko and Kashiwagi Tomoh
Sam Durant and Tim Philips, Art Catalogues, Los Angeles County Museum of Art
“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
“The Ethics of Representation″, The Brooklyn Conference, The Brooklyn Museum, Panel discussion with Claudia Rankin and CoCo Fusco
Otis Summer 2017: visiting artist, Otis College of Art and Design, Los Angeles, CA
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)
Art Talk Event, Venice Family Clinic, with Jacob Kassay and Analia Saban, Los Angeles
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 Artists in Residence, NTU Center for Contemporary Art, Gilman Barracks, Singapore
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, Bernice Reynaud, Travis Preston and Sam Durant, as part of WHAP! 2014 Lecture series, presented by the CalArts’ MA Aesthetics and Politics Program and the City of West Hollywood
2013 Artist in Residence, The Getty Center Department of Education, Los Angeles
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
2010 Hammer Conversations, Tom Morello and Sam Durant, Hammer Museum, Los Angeles
Visiting Critic, University of Pennsylvania, Philadelphia
2009 Workshop: Art and Community Engagement, with Transforma Collective (with Rick Lowe and Jessica Cusick),* UCLA Hammer Museum, Los Angeles
The work of Robert Smithson and Sam Durant, Sotheby’s Institute of Art, Singapore
2008 Word: Spoken, Sung, Seen, Biennale of Sydney, Sydney
Parsons New School for Social Research, New York
Proyecto Cívico, Centro Cultural Tijuana, Baja
Artist and Activist, Orange County Museum of Art, Newport Beach
University of Southern California, Los Angeles (with Rick Lowe)
In Dialog with Emory Douglas, San Francisco Art Institute, San Francisco
Artists and Community Engagement: A Workshop with Rick Lowe, Jessica Cusick, and Sam Durant, UCLA Hammer Museum, Los Angeles
2007 This Must Be The Place, Smithsonian National Museum of the American Indian, Venice Biennale, Venice
Eat the Market, Los Angeles County Museum of Art. Los Angeles
Black Panther Rank and File, Maryland Institute College of Art, Baltimore
2006 Institutional Critique, Yale University, New Haven
2005 InSite, University of California, San Diego
2004 NAFTA, Museum of Contemporary Art, San Diego
War! Protest In America, 1965-2004, REDCAT/CalArts Theater, Los Angeles
Robert Smithson Retrospective: Public Program with Lee Renaldo and Lea Singer, Renee Green, Scott Benzel and Tom Reccion, Museum of Contemporary Art, Los Angeles
2001 Wild Walls Symposium, Berlin/Los Angeles Film Festival of Architecture and Urbanism, University of Southern California, Los Angeles
Take Two / Reprise: Symposium, The Ottawa Art Gallery, Ottawa
2000 Practical Criticism: Art and Theory in the 90s, Pacific Design Center, Los Angeles (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 (moderated by Cornelia H. Butler)

Selected Public Lectures #

2022 Hochschule für Bildende Künste – Städelschule, Frankfurt/M., Germany
2021 Maryland Institute College of Art, Baltimore, MD
CC Strombeek, Strombeek, Belgium
The Common Guild, Glasgow, UK
2019 Kwame Nkrume University of Science and Technology, Kumasi, Ghana
University of Florida, Gainesville. Fla
Library Street Collective, Detroit, MI
Harvard University, Cambridge, MA
2018 Loyola Marymount University, Los Angeles, CA
Harvard University, Cambridge, MA
Kunstakademie Düsseldorf, Düsseldorf, Germany
Tang Museum, Skidmore College, Saratoga Springs, NY
2017 DeCordova Museum, Lincoln, MA
SOMA, Mexico City, Mexico
2016 Pérez Art Museum Miami, Miami
Aspen Art Museum
Alumnos47, Mexico City
Otis College of Art and Design, Los Angeles
2015 Musashino Art University, Tokyo, Japan
Eastern State Penitentiary, Philadelphia
WIELS, Brussels, Belgium
Northwest Museum of Arts and Culture, Spokane
Eastern Washington University, Cheney
Spokane Falls Community College, Spokane
2014 Center for Contemporary Art Singapore, Singapore
LaSalle College of Art, Singapore
Stanford University, Stanford, Ca
2013 Stadium Generale, Royal Academy of Art, The Hague
Claremont Graduate University, Claremont
2012 University of California, Irvine
University of California, Los Angeles
University of California, Santa Barbara
Ohio State University, Columbus
Claremont Graduate University, Claremont
2010 University of Pennsylvania, Philadelphia
Portland State University, Portland
2009 Art Center College of Design, Pasadena
LaSalle College, Singapore
Turin Art School, Turin
2008 Conversations with Contemporary Artists, the Elaine Terner Cooper Education Fund, Sackler Center for Arts Education, Guggenheim Museum, New York
Is destruction creative? A discussion of the Defaced Monuments project, Stroom Den Haag, The Hague, Netherlands
Hirschhorn Museum of Art, Washington D.C.
Columbia University, New York
2007 Otis College of Art and Design, Los Angeles
Museum of Contemporary Art, Ciudad de Panamá
UCLA Hammer Museum, Los Angeles
Museum of Contemporary Art Detroit
2006 Art Papers Lecture, Atlanta
University of California, Los Angeles
CORE Program, MFA Houston, Houston
Massachusetts College of Art, Boston
2005 Vermont College, Montpelier
Cal State Long Beach, Long Beach
University of California, Los Angeles
Emily Carr Institute, Vancouver
2004 Ft. Worth Museum of Modern Art, Ft. Worth
Bezalel Academy of Art, Tel Aviv
Art Institute of Chicago, Chicago
Gallery 400, University of Illinois, Chicago
2003 Akademie der Bildenden Künste, Vienna, Austria
Walker Art Center, Minneapolis
University of Minnesota, Minneapolis
University of California, Irvine
University of California, Los Angeles
Govett-Brewster Art Gallery, New Plymouth
California Institute of the Arts, Valencia
Kunstverein Düsseldorf, Düsseldorf
2002 Core program, Museum of Fine Art, Houston
Wadsworth Atheneum, Hartford
Art Center College of Design, Pasadena
University of California, Los Angeles
California College of Arts and Crafts, San Francisco
Institute of Contemporary Art, Boston
2001 Akademie der Kunst, Zürich
Royal College of Art, London