BORN 1957 in New York; lives in New York; California Institute for the Arts, 1979, B.F.A.

SELECTED SOLO EXHIBITIONS

1981

University Art Museum, University of California, Berkeley

1982 The Walker Art Center, Minneapolis

1985

The American Center, Paris

1986

"Spheres of Influence," Musée National d’Art Moderne, Centre Georges Pompidou, Paris (catalogue)

1987

The Kitchen, New York

1989

Folkwang Museum, Essen (cat.)

Museum fur Gegenwartskunst, Basel

1993

"White Trash and Phobic," Centre d'Art Contemporain, Geneva; Kunstwerke, Berlin (cat.)

1994

Lisson Gallery, London (and 1996, 2000)

Jean Bernier Gallery, Athens (and 1996)

Metro Pictures, New York (and 1996, 1998, 2001, 2003)

1995

"System for Dramatic Feedback," Portikus Frankfurt; Les Musées de la Ville de Strasbourg; Centre d'Art Contemporain, Geneva; Stedlijk Van Abbemuseum, Eindhoven; (cat.)

"Tony Oursler: Video Installations, Objects, Watercolors," Musée des Arts Modernes et Contemporains, Strasbourg, France

Galerie Ghislaine Hussenot, Paris

Wiener Secession, Vienna

Soledad Lorenzo, Madrid (and 1998)

1996

Museum of Contemporary Art, San Diego, California (broch.)

"My Drawings 1976-1996," Kasseler Kunstverein, Kassel, Germany (cat.)

1997 "Judy," Institute of Contemporary Art, Philadelphia

Margo Leavin Gallery, Los Angeles (and 2000)

Aspen Art Museum, Aspen, Colorado

capc Musée, Musée d'art contemporain de Bordeaux; Salade Exposiciones Rekalde, Bilboa (cat.)

1998

“Directions-Tony Oursler: Video Dolls with Tracey Liepold,” Hirshhorn Museum & Sculpture Garden, Smithsonian Institute, Washington, D.C. (broch.)

"Videotapes, Dummies, Drawings, Photographs, Viruses, Heads, Eyes, & CD-ROM," Kunstverein Hannover, Germany, Malmö Konsthall, Sweden (cat.)

1999

Tel Aviv Museum of Art

"Introjection: Tony Oursler mid-career survey, 1976-1999," MASS MoCA, N. Adams, Massachusetts; Williams College, Williamstown, Massachusettes (17 April- 24 October 2022); Contemporary Arts Museum, Houston (11 December 1999- 13 February 2000; Los Angeles Museum of Contemporary Art, Los Angeles (2 April- 30 July 2023); Des Moines Art Center (11 November 2000- 21 January 2023) (cat.)

2000

"Sulfer, Glass, Silicon," 1000 Eventi, Milan(Feb 24 - Apr 7)

“The Empty Cabinet,” Henry Art Gallery, University of Washington, Seattle; University Art Gallery, University of California, San Diego

“Tony Oursler: The Darkest Color Infinitely Amplified”, The Whitney Museum of American Art, New York (broch.)

2001

Institut Valencià D’Art Modern, Valencia, Spain (cat.)

“Flucht,” Kunsthaus Bregenz, Bregenz, Austria

Koldo Mitxelena Kulturunea, San Sebastian, Spain

Galerie Ghislaine Hussenot, Paris

Galerie Joan Prats, Barcelona, Spain

2002

“Tony Oursler¬– Drawings,” Lehmann Maupin, New York

“Tony Oursler¬– Luftmetall,” Galerie Hans Meyer, Dusseldorf, Germany

“Station,” Magasin 3, Stockholm Konsthall, Stockholm, Sweden (cat.)

Museo D’Arte Contemporanea Rome, Italy

Galerie H.S. Steinek, Vienna, Austria

“Tony Oursler: Selected Works from 1973-2002,” Loyola University, New Orleans, LA

2003

“Tony Oursler,” Gallery Paule Anglim, San Francisco, CA

“Tony Oursler,” Margo Leavin Gallery, Los Angeles, CA

2004

“Tony Oursler,” Lehmann Maupin, New York, NY

2005

“Tony Oursler,” Contemporary Arts Center, Cincinnati, OH

2006

“Tony Oursler,” Metro Pictures, New York, NY

2007

"Tony Oursler," Gallery Paule Anglim, San Francisco, CA

SELECTED PUBLIC AND ONLINE PROJECTS

2000

"Fantastic Prayers," site-pecific web project, collaboration with Constance Djong and Stephen Vitiello, Contemporary Arts Museum, Houston; Dia Center for the Arts, New York

“The Influence Machine,” Target Art in the Park, Madison Square Park, New York; Soho Square, London

2001

“Timestream,” www.moma.org/timestream/, Museum of Modern Art, New York

2002

"The Influence Machine Stockholm,” Magasin 3, Stockholm Projekt Djurgårdsbrunn, Stockholm, Sweden

SELECTED GROUP EXHIBITIONS

1987

"L'époque, la mode, la morale, la passion," Centre Georges Pompidou, Paris

"Documenta 8," Kassel

1988

"The BiNational: American Art of the Late 80s, German Art of the Late 80s," Institute of Contemporary Art, Museum of Fine Arts, Boston; Stadtische Kunsthalle, Dusseldorf; Kunsthalle Bremen, Bremen; Wurttembergischer Kunstverein, Stuttgart (cat.)

1989

"The Whitney Biennial," Whitney Museum of American Art, New York (cat.)

"Video Sculpture 1963-1989," Kolnischer Kunstverein, Cologne

1990

"Tendance Multiples, Video des Annees 80," Centre Georges Pompidou, Paris

1992

"Documenta 9," Kassel

1993

"3rd International Biennale in Nagoya-Artec '93," Nagoya City Art Museum

1994

"Tony Oursler and John Kessler," Salzburg Kunstverein, Austria (cat.)

1995

"ARS 95 Helsinki," Museum of Contemporary Art, Helsinki (cat.)

"Zeichen & Wunder," Kunsthaus Zurich; Centro Galego de Arte Contemporanea, Santiago de Compostela, Spain (cat.)

"Fantastic Prayers" (collaboration with Constance DeJong and Stephen Vitiello), worldwide website project and performance, Dia Center for the Arts, New York

"Video Spaces: Eight Installations," The Museum of Modern Art, New York (cat.)

"1995 Carnegie International," The Carnegie Museum of Art, Pittsburgh (cat.)

"Biennale d'Art Contemporain de Lyon", Maison de Lyon, France

"Passions Privee," Museé d'Art Moderne de la Ville de Paris

1996

"Altered and Irrational," Whitney Museum of American Art, New York

"Sex & Crime: On Human Relationships," Sprengel Musem, Hannover (cat.)

"Young Americans: New American Art in the Saatchi Collection," Saatchi Gallery, London (cat.)

"Phantasmagoria," Museum of Contemporary Art, Sydney, Australia (cat.)

“10th Biennale of Sydney,” Australia (cat.)

"New Persona/New Universe," Biennale di Firenze, Florence

1997

"The Whitney Biennial," Whitney Museum of American Art, New York (cat.)

"Skulptur Projekte," Munster (cat.)

"The Body," The Art Gallery of New South Wales, Sydney, Australia (cat.)

“Documenta X,” Kassel (collaboration with Mike Kelley) (cat.)

“The Poetics Project: 1977-1997,” (collaboration with Mike Kelley), Watari-um, the Watari Museum of Contemporary Art, Tokyo (cat.)

1998

"Video: Tony Oursler, Bruce Naumen, Sam Taylor-Wood," San Francisco Museum of Modern Art

"Sao Paulo Biennale XXIV," Sao Paulo, Brazil

1999

"Double Lives," Institut de Cultura de Barcelona

"Video Cult/ures," Center for Art and Media, MfCA, Karlsruhe, Germany

"American Century," Whitney Museum of American Art, New York (cat.)

"Skin," Deste Foundation Center for Contemporary Art, Athens

"Triennale Exhibition: Sentiment of the Year 2000," Triennale di Milano

"Millennium My Eye!" Musée d'art contemporain de Montréal, Montréal

“6th International Istanbul Biennial,” Istanbul Foundation for Culture and Arts (cat.)

2000

“Spectacular Bodies,” Hayward Gallery, London (cat.)

2001

“A Contemporary Cabinet of Curiosities- Selections from the Vicki and Kent Logan Collection,” Oliver Art Center, California College of Arts and Crafts, Oakland (cat.)

“Wechselstrom- Alternating Current,” Sammlung Hauser und Wirth, St. Gallen, Switzerland (cat.)

“Black Box,” Kunstmuseum Bern, Bern, Switzerland (cat.)

“Televisions,” Kunsthalle Wien, Vienna, Austria (cat.)

2002

“The First Decade- Video From the EAI Archives,” The Museum of Modern Art, New York

“New York Renaissance– Masterworks From the Whitney Museum of American Art,” Palazzo Reale, Milan (cat.)

"Slow Motion," Ludwig Forum für Internationale Kunst, Aachen, Germany (cd-rom)

"Hautnah- The Goetz Collection," Museum Villa Stuck, Munich (cat.)

"Garten Landschaft OstWestfalenLippe," Gräflicher Kurpark Driburg, Driburg, Germany

“Ce Qui Arrive,” Fondation Cartier Pour L’Art Contemporain, Paris

“Video Acts,” P.S.1 Contemporary Art Center, Long Island City, New York (cat.)

“Life, Death, Love, Hate, Pleasure, Pain,” Museum of Contemporary Art, Chicago (cat.)

2003

“Drawings,” Metro Pictures, New York

“Yanomami: Spirit of the Forest,” Fondation Cartier pour l’art contemporain, Paris

2006

“Signal Challen: Contemporary Video Art.” Bemis Center for Contemporary Arts, Omaha, NE

SELECTED BIBLIOGRAPHY

1985 Kim Gordon, "American Prayers," Artforum, April, pp. 73-7

Ann-Sargent Wooster, "Tony Oursler at MO David," Art in America, December, pp. 134

1989 C. Carr, "Constance Dejong and Tony Oursler: Relatives, The Kitchen," Artforum, May, pp. 27

Charles Hagen, "Video Art: The Fabulous Chameleon," Artnews, Summer, pp. 88

Tony Oursler, Folkwang Museum, Essen

1990 Andy Grundberg, "Tony Oursler, Diane Brown Gallery," The New York Times, June 8

John Miller, "Tony Oursler, Diane Brown Gallery," Artforum, October, pp. 29

1993 Tony Oursler: White Trash and Phobic, an introduction by Elizabeth Janus, Centre d'Art Contemporain, Geneve and Kunst-werke, Berlin

Dummies, Dolls & Poison Candy, IKON Galery, Birmingham; Bluecoat Gallery, Liverpool

Chris Meigh-Andrews, "Tony Oursler," Art Monthly, London, November

Gertrud Sandquist, "Privat," Parkett, #37

1994 Renate Puvogel, "Tony Oursler-System for Dramatic Feedback," Kunstforum, November, pp. 403-4

Peter Schjeldahl, "Get Out of Here," The Village Voice, Nov. 29, pp. 97

Roberta Smith, "Tony Oursler," The New York Times, Nov. 25, pp. C24

1995 Michael Duncan, "Tony Oursler at Metro Pictures," Art in America, January, pp. 105

Joshua Decter, "Tony Oursler, Metro Pictures," Artforum, February, pp. 89

Gregory Volk, "Tony Oursler, Metro Pictures," Artnews, February, pp. 127

Robert G. Edelman, "Tony Oursler," Art Press, Paris, February, No. 199, pp. VI-VII

Tony Oursler: Dummies, Clouds, Organs, Flowers, Watercolors, Videotapes, Alters, Performances and Dolls, Friedemann Malsch and Elizabeth Janus (editors), Portikus, Frankfurt, Les Musees de la Ville do Strasbourg, Centre d'Art Contemporain, Geneve, Stedelijk Van Abbe Museum, Eindhoven

John C. Welchman, "Tony Oursler: Angels of the Techno-Grotesque," Art + Text, Sydney, May, #51, pp. 227

Arthur C. Danto, "Art: TV and Video," The Nation, September 11, pp. 248-53

Eleanor Heartney, "Video in Situ," Art in America, October, pp. 94-9

Jim Lewis, "Doll Parts," Spin, November, pp. 28

Tony Oursler: Obra Reciente, essay by Octavio Zaya, Galeria Soledad Lorenzo, Madrid

1996 Matthew Ritchie, "Tony Oursler: Technology As An Instinct Amplifier," Flash Art, Jan/Feb, pp. 76-9

Martin Herbert, "Project Yourself Onto This" (interview), Dazed & Confused, London, April, pp. 102-4

Holland Cotter, "Optic Nerve," Art in America, June, pp. 92-5

David Batchelor, "Tony Oursler - Lisson Gallery," Artforum, Summer, pp. 118

Tony Oursler, a written conversation with Christiane Meyer-Stoll and Jim Lewis, Museum of Contemporary Art, San Diego

Frances Richard, "Like Water," Parkett, No. 47, pp. 46-53

Lynne Cooke, "Tony Oursler Alters," Parkett, No. 47, pp. 38-41

Louise Neri "Oursler/ Leipold/ Neri: A Conversation in the Green Room," Parkett, No. 47, pp. 21-37

Tony Oursler-My Drawings, Ed. Bernhard Balkehol, Kasseler Kunstverein, Kassel, Germany

Christine Van Assche, "Six Questions to Tony Oursler," Parachute, Montreal, No. 84, pp. 6-10

1997 Tony Oursler & Mike Kelley: The Poetics Project, The Watari Museum of Contemporary Art, Watari-um, Tokyo

Susan Kandel, "Facing an Encounter with a Surrealist Edge," Los Angeles Times, March 7, pp. F20

Michael Kimmelman, "Narratives Snagged on the Cutting Edge," The New York Times (weekend section), March 21, pp. C1, C26

Adrian Searle, "Nowhere to Run," Frieze, London, #34, pp. 42-7

Judith Bumpus, "Video's Puppet Master," Contemporary Visual Arts, London, Issue 15, pp. 38-43

David Bonetti, "Video Effigies Dispense Empty Wisdom, Sorrow," San Francisco Examiner, September 24, pp. C9

Tony Oursler, essay by Jean-Marc Avrilla, capc Musée, Musée d'art contemporain de Bordeaux, France

Paul Ardenne, "Tony Oursler's Cruel Theater," Art Press, Paris, November, pp. 19-24

Susan Kandel, "'Poetics Project' Relives Group's Heady Days," Los Angeles Times, December 12, pp. F. 28

1998 Tony Oursler, ed. by Santiago B. Olmo, Soledad Lorenzo, Madrid

Tony Oursler, ed. by Simona Lodi, Galleria 1000 Eventi, Milan

Ian MacMillan, “Expressway to Your Skull,” Modern Painters, Spring, pp. 77-9

Videotapes, Dummies, Drawings, Photographs, Viruses, Heads, Eyes, & CD-Rom, essays by Martina Goldner, Eckhard Schneider, Thyrza Nichols Goodeve, Kunstverein Hannover, Germany

1999 Katy Siegal,"Tony Oursler, Metro Pictures", Artforum, January, pp. 118

John G. Hanhardt, "The Century's Most Influential Artists: TV Guide," Artnews, May, pp. 144

Ann Wilson Lloyd, "A Multiplex of a Museum Turns On the Lights," The New York Times, May 23, pp. 31-2

Roberta Smith,"Art Center Has Room For the Big And the New," The New York Times, June 2, pp. E1, E5

Art at the Turn of the Millennium, ed. by Burkhard Riemschneider & Uta Grosenick, Taschen, pp. 370-3

Constance DeJong, "Diary of a Talking Head," Juxtapoz, Jul/Aug, pp. 32-7

Zoo, Friary Press, July, pp. 188-9

Grace Glueck, "Compulsions and Obsessions,From Sad to Spooky," The New York Times, September 3, pp. E31

Double Lives, essays by Joan Clos, Teresa Blanch, Adriano Pedrosa, Institute of Culture, Barcelona, pp. 94-7

Video Cult/ures, ed. by Ursula Frohne, Museum für Neue Kunst, Cologne, pp. 228-9

Bienal, Istanbul Foundation for Culture and Arts, Istanbul, pp. 158-61

6th International Istanbul Biennial, Istanbul Foundation for Culture and Arts, Istanbul, pp. 222-5

The American Century: 1950-2000, by Lisa Phillips, Whitney Museum of American Art, pp. 372-3

Introjection: mid-career survey 1976-1999, by Deborah Rothschild, Williams College Museum of Art, Williamstown, Massachusetts (essay)

Matthew Gurewitsch, "In Istanbul, a Biennial Offers the Solace of Art," The New York Times, Dec. 26, pp. AR 47-8

Skin, intro by Dakis Joannou, Deste Foundation Center for Contemporary Art, Athens, Greece

2000 Jennifer Higgie,"Istanbul Biennial," Frieze, Jan/Feb, pp. 92-3

Dodie Kazanjian, "Dark Star," Vogue, March, pp. 518-22

Tony Oursler: The Darkest Color Infinitely Amplified, The Whitney Museum of American Art, New York

Suzanne Muchnic, “A Projection of the Imagination,” Los Angeles Times, April 2, pp. 6, 86

David Knight, “Inspired by the Box,” Los Angeles Times, April 8, pp. F1, F12

Paul Young, “Balking House”, Flaunt, May, pp. 129-31

Carol Rosen, “What Are You Looking At?,” Sculpture, May, pp. 34-9

Christopher Miles, “Tony Oursler- Museum of Contemporary Art”, ArtForum, summer, pp. 189

Fiona Rattray, “Heads He Wins,” The Sunday Review- The Independent on Sunday, London, October 22, pp. 40, 43, 45

Roberta Smith, “Tony Oursler- ‘The Influnece Machine’,” The New York Times, October 27, pp. E38

Martin Herbert, “Ghosts in the Machine,” ArtReview, London, November, pp. 40-1

Modern Contemporary: Art at MoMA Since 1980, Kirk Varnedoe, Paola Antonelli, Joshua Siegel (ed.), Museum of Modern Art, New York, pp. 218

2001 Kia Vahland, “Der Multimediale Puppenspieler,” Art, February, pp. 38-46, 96

A Contemporary Cabinet of Curiosities- Selections from the Vicki and Kent Logan Collection, California College of Arts and Crafts, Oakland

Reena Jana, “Stream Weaver,” Artforum, March, pp. 41

Michael Kimmelman, “A Sculptor Of The Air With Video,” The New York Times, April 27, pp. E27, 29

Blake Gopnick, “The Creepy Burblings of Tony Oursler’s New Machines,” The Washington Post, May 13, pp. G1, G6

Tony Oursler, Institut Valencià D’Art Modern, Valencia, Spain

Art Now, Burkhard Riemschneider and Uta Grosenick ed., Taschen, Cologne, pp. 116-7

Black Box, Kunstmuseum Bern, Bern, Switzerland

Wechselstrom- Alternating Current, Sammlung Hauser und Wirth, St. Gallen, Switzerland

Televisions, Kunsthalle Wien, Vienna, Austria, pp. 109

Tony Oursler: The Influence Machine, Artangel, London

American Visionaries, Whitney Museum of American Art, New York, pp. 233

2002 Anne Maier, “Tony Oursler- Realität und Projektion,” Kunstler: Kritisches Lexikon der Gegenwartskunst, Weltkunst Verlag, Munich

New York Renaissance– Masterworks From the Whitney Museum of American Art, Palazzo Reale, Milan, pp. 169

Hautnah- The Goetz Collection, Museum Villa Stuck, Munich (pp. 78-81)

Station, Magasin 3, Stockholm Konsthall, Stockholm, Sweden

Video Acts, P.S.1 Contemporary Art Center, Long Island City, New York, pp. 243-51

AWARDS

2000 U.S. Art Critics Association

ICA New Media Award

MUSEUMS AND PUBLIC COLLECTIONS

Eli Broad Family Foundaton, Los Angeles

capc Musée d'art Contemporain de Bordeaux

Carnegie Museum of Art, Pittsburgh

Cartier Foundation, Paris

Cincinnati Art Museum, Cincinnati

Depont Foundation for Contemporary Art, Tilburg, The Netherlands

Des Moines Art Center, Des Moines

Goetz Collection, Munich

Hirshhorn Museum and Sculpture Garden, Washington, D.C.

Los Angeles County Museum of Art, Los Angeles, California

Magasin 3, Stockholm

Milwaukee Art Museum, Wisconsin

Modern Art Museum of Fort Worth, Texas

Musée d'Art Contemporain de Montreal

Musée d'Art Contemporain, Barcelona

Musée d'Art Contemporain, Lyon

Musée national d'art moderne, Centre Georges Pompidou, Paris

Museum of Contemporary Art, Chicago

Museum of Contemporary Art, Helsinki

Museum of Contemporary Art, San Diego

Museum of Modern Art, New York

Orange County Museum of Art, California

San Francisco Museum of Modern Art

Staatsgalerie Moderner Kunst, Munich

Tate Gallery, London

Van Abbemuseum, Eindhoven

Whitney Museum of American Art, New York

ZMK/Center for Art & Media, Karlsruhe, Germany

Williams College Museum of Art, Williamstown, Massachusetts