Jonathan Lasker
Jonathan Lasker
Born 1948 in Jersey City, NJ
EDUCATION
1975-
77
School of Visual Arts, New York
1977 California Institute of the Arts, Valencia, CA
AWARDS
1987 National Endowment for the Arts Fellowship Grant
1989 New York Foundation for the Arts Fellowship Grant
1989 National Endowment for the Arts Fellowship Grant
ONE PERSON EXHIBITIONS
1981 Landmark Gallery, New York
Gunnar Kaldewey, Düsseldorf, Germany
1984 Annette Gmeiner, Kirchzarten, Germany
Tibor de Nagy, New York
1986 Michael Werner, Cologne, Germany
Tibor de Nagy, New York
Massimo Audiello, New York
1987 Michael Werner, Cologne, Germany
Anders Tornberg, Lund, Sweden
1988 Massimo Audiello, New York
Gian Enzo Sperone, Rome, Italy
1989 Massimo Audiello, New York
1990 Michael Werner, Cologne, Germany
Anders Tornberg, Lund, Sweden
1991 Gian Enzo Sperone, Rome, Italy
Schmidt-Markow, St. Louis, MO
Annette Gmeiner, Stuttgart, Germany
Lars Bohman, Stockholm, Sweden
Sperone Westwater, New York
1992 Institute of Contemporary Art, University of Pensylvania, Philadelphia, PA
Thaddaeus Ropac, Paris, France
Baumgartner Galleries, Inc., Washington, D.C.
Eugene Binder, Dallas, TX
1993 Witte de With, Center for Contemporary Art, Rotterdam, Holland
Rhona Hoffman, Chicago, IL
Bernd Klüser, Munich, Germany
Sperone Westwater, New York
1994 Galerie Buchmann, Basel, Switzerland
Lars Bohman, Stockholm, Sweden
1994 Bravin Post Lee, New York
1995 Soledad Lorenzo, Madrid, Spain
L.A. Louver, Venice, CA
1996 Sperone Westwater, New York
1997 Velge et Noirhomme, Brussels, Belgium
Thaddaeus Ropac, Paris, France
Galerie Kienzle und Gmeiner, Berlin, Germany
Galleria Milleventi, Turin, Italy
Schmidt Contemporary Art, Saint Louis, MO
1997-
98
Kunsthalle Bielefeld, Germany; Stedelijk Museum, Amsterdam, Holland; Kunstverein St.
Gallen im Kunstmuseum, St. Gallen, Switzerland, “Jonathan Lasker: Paintings 1977-1997”
1998 Timothy Taylor Gallery, London, England
ART C. association art contemporain, Ville d’Issoire, France
Soledad Lorenzo, Madrid, Spain
1999 Sperone Westwater, New York
1999-
2000
The Forum for Contemporary Art, St. Louis, MO; The Power Plant, Toronto, Canada; Rose
Art Museum, Brandeis University, MA; Birmingham Museum of Art, AL, “Jonathan Lasker:
Selective Identity, Paintings from the 1990s”
2000 Galerie Thaddaeus Ropac, Paris, “Jonathan Lasker: Oeuvres Récentes”
2001 Galleri Lars Bohman, Stockholm, Sweden
2002 The Art Show, Booth A5, Sperone Westwater, New York
Galerie Thomas Schulte, “Four Large Scale Works,” Berlin.
Galleri Wang, Oslo, Norway.
2003 Museo Nacional Centro de Arte Reina Sofía, “Jonathan Lasker”, Madrid
Galerie Thomas Schulte, Berlin.
Kunstsammlung Nordhein-Westfalen, Düsseldorf.
SELECTED GROUP EXHIBITIONS
1981 Landmark Gallery, New York
Tony Shafrazi, New York
Novo Gallery, New York
Patrick Verelst, Antwerp, Belgium
1982 Landmark Gallery, New York, “Tenth Anniversary Exhibition”
1983 Tibor de Nagy, New York, “On An Intimate Dimension”
Hamilton Gallery, New York, “New Biomorphism and Automatism”
1984 Tibor de Nagy, New York, “Fact and Fiction”
Gabrielle Bryers, New York, “Jonathan Lasker/Renee Lynch”
Proctor Art Center, Bard College, Annandale-on-Hudson, New York
Hadler Rodriguez Gallery, New York
1985 55 Mercer Gallery, New York, “2. Smart Art, Too,” Joseph Masheck, Curator
Cash/Newhouse Gallery, New York, “Final Love,” Collins & Milazzo, Curators
Carpenter Center for the Visual Arts, Harvard University, Cambridge, MA, “Smart Art: New
Work from NY,” Joseph Masheck, Curator
Postmasters Gallery, New York, “Paravision,” Collins & Milazzo, Curators
Wolff Gallery, New York, “Abstract Painting”
Tibor de Nagy, New York, “Summer Exhibition”
Museum Ludwig, Cologne, Germany, “Kölner Herbstsalon”
Sherry French Gallery, New York, “Abstract/Issues,” Steven Madoff, Curator
Wacoal Art Center, Tokyo, Japan, “Vernacular Abstraction”
Tibor de Nagy, New York, “Cult and Decorum,” Collins & Milazzo, Curators
Jay Gorney Modern Art, New York
1986 Annette Gmeiner, Kirchzarten, Germany, “Drawings”
Rose Art Museum, Brandeis University, Waltham, MA
Carnegie Mellon University, Pittsburgh, PA; Klein Gallery, Chicago, IL,
“Abstraction/Abstraction,” Elaine King, Curator
Margo Leavin, Los Angeles, CA, “Paravision II,” Collins & Milazzo, Curators
Tony Shafrazi, New York, “What It Is,” Wilfried Dickhoff, Curator
American Fine Arts Co., New York, “Modern Sleep,” Collins & Milazzo, Curators
Tibor de Nagy, New York, “The Kaldewey Press”
Hirschl & Adler Modern, New York, “The Intuitive Line”
1987 Rathbone Gallery, Russell Sage College, Albany, NY, “The Shape of Abstraction”
Laurie Rubin, New York, “Interstices,” Jonathan Seliger, Curator
The Corcoran Gallery of Art, Washington, D.C., “Fortieth Biennial Exhibition of Painting,”
Ned Rifkin, Curator
Postmasters Gallery, New York
Aldrich Museum of Contemporary Art, Ridgefield, CT, “Post-Abstract Abstraction,” Eugene
Schwartz, Curator
Renaissance Society, University of Chicago, Chicago, IL; Newport Harbor Art Museum,
Newport Beach, CA, “Cal-Arts: Skeptical Belief(s)”
Massimo Audiello, New York
Annette Gmeiner, Stuttgart, Germany, “Meine Maler”
Michael Werner, Cologne, Germany
Mayor Rowan Gallery, London, England, “New York, New Art”
1988 Saatchi Collection, London, England, “N.Y. Art Now”
Lang & O’Hara, New York
Rooseum, Malmo, Sweden, “Art at the End of the Social,” Collins & Milazzo, Curators
University of North Texas, Denton, TX; J. B. Speed Museum, Louisville, KY; Alberta College
of Art, Edmonton, Canada; Contemporary Arts Center, Cincinnati, OH; Richard F. Brush
Gallery, St. Lawrence University, Canton, NY; Santa Fe Community College, Gainesville, FL,
“Hybrid Neutral,” Collins & Milazzo, Curators
The Metropolitan Museum of Art, Thomas J. Watson Library, New York, “The Kaldewey
Press”
Kunstverein Hochrhein e.v., Villa Berberich, Bad Säckingen, Germany, “Schwarzwaldbild”
White Columns, New York, “Benefit Exhibition”
1989 Shea & Beker, New York, “Diagrams & Surrogates,” Saul Ostrow, Curator
Stedelijk Museum, Amsterdam, Holland, “Horn of Plenty,” Gosse Oosterhof, Curator
Emily Lowe Gallery, Hofstra University, Hempstead, NY, “The Pellizzi Collection”
Thaddaeus Ropac Gallery, Salzburg, Austria, “The Silent Baroque,” Christian Leigh, Curator
Galleria Regionale di Palazzo Bellomo, Siracusa, Italy, “Specchi Ustori,” Demetrio Paparoni
and Michelangelo Castello, Curators
Daniel Newburg, New York, “Drawings”
1990 Marc Richards Gallery, Los Angeles, CA, “Spellbound,” Christian Leigh, Curator
Scott Hanson Gallery, New York, “Token Gestures,” Collins & Milazzo, Curators
Anders Tornberg, Lund, Sweden
Real Art Ways, Hartford, CT, “Mythic Moderns,” Jude Schwendenwien, Curator
Nicole Klagsbrun, New York, “Benefit Exhibition”
Joensuu Art Museum, Joensuu, Finland, “Maailmat, Worlds ’90 International Art Show”
Daniel Weinberg, Los Angeles, CA, “Benefit Exhibition”
Tony Shafrazi, New York, “The Last Decade: American Artists of the 80’s,” Collins &
Milazzo, Curators
Pace Gallery, New York, “Painting Alone,” Rainer Crone and David Moos, Curators
Philippe Briet, New York, “Clyfford Still: A Dialogue,” Alan Jones, Curator
New York Public Library, Gottesman Exhibition Hall, New York, “On Paper: The History of
an Art”
Tibor de Nagy, New York, “Fortieth Anniversary Exhibition”
1991 Wolff Gallery, New York and Feigen, Inc., Chicago, IL, “Strategies for the Next Painting,”
Saul Ostrow, Curator
Grossman Gallery, School of the Boston Museum of Fine Arts, Boston, MA, “Between
Intuition and Reason, Saint Clair Cemin/Jonathan Lasker”
Usdan Gallery, Bennington College, Bennington, VT, “Hybrid Abstract,” Joshua Decter,
Curator1
Galleria d’Arte Moderna, Bologna, Italy, “Anni Novanta,” Renato Barilli and Pier Giovanni
Castagnoli, Curators
Perry Rubenstein, New York, “The Thing,” Vik Muniz, Curator
Sperone Westwater, New York
Hirshhorn Museum and Sculpture Garden, Washington, D.C., “New Acquisitions”
Weatherspoon Art Gallery, Greensboro, NC, “Art on Paper”
John Good, New York, “La Metafisica della Luce,” Demetrio Paparoni, Curator
Sidney Janis, New York, “Conceptual Abstraction”
Matthew Marks, New York, “Benefit Exhibition”
1992 Max Protetch, New York, “Stubborn Painting: Now & Then,” Ruth Kaufman and Mike Metz,
Curators
Sandra Gering, New York, “Shades of Difference,” Shirley Kaneda, Curator
Galerie nächst St. Stephan, Vienna, Austria, “Abstract Painting Between Analysis and
Synthesis”
Dayton Art Institute & Museum of Contemporary Art, Wright State University, Dayton, OH,
“The City of Influence: Ross Bleckner, Peter Halley, Jonathan Lasker,” Barry Rosenberg,
Curator
P.S.1 Museum, Long Island City, New York, “Slow Art: Painting in New York Now,” Alana
Heiss and Warren Niesluchowski, Curators
Museo Regione Autonoma Della Valle d’Aosta, Aosta, Italy, “Theoretically Yours,” Collins &
Milazzo, Curators
Schmidt Contemporary Art, Saint Louis, MO, “Abstract Painting 1992”
Documenta Halle, Kassel, Germany, “Documenta IX”
Rolf Ricke, Cologne, Germany, “Kinder! Macht Neues!”
Sperone Westwater, New York
Morat Institut Für Kunst Und Kunstwissenschaft, Freiburg, Germany, “Kunstprodukt
Heimat,” Klaus Merkel, Curator
Thaddaeus Ropac, Paris, France
Annina Nosei, New York, “Who’s Afraid of Duchamp, Minimalism, and Passport
Photography?,” Collins & Milazzo, Curators
Galleria Galliani, Genoa, Italy
1993 Ruth Bloom, Santa Monica, CA, “The Brush Stroke”
Hirshhorn Museum and Sculpture Garden, Washington, D.C., “The Permanent Collection
Revisited”
Thaddaeus Ropac, Paris, France, “New York on Paper”
Venice Biennale, Venice, Italy, and Guggenheim Museum Soho, New York, “Drawing the
Line Against AIDS”
Pamela Auchincloss, New York, “Color”
Sammlung Götz, Munich, Germany, “New York Painters”
Baumgartner Gallery, Washington, D.C., “New Moderns,” Joseph Masheck, Curator
Art Museum of the Americas, Washington, D.C., “Off the Mall: Inside Washington’s
Foremost Art Galleries”
Raymond Bollag, Zurich, Switzerland, “Zeichnungen Setzen Zeichen, Kunstler Der
Documenta IX”
Galerie nächst St. Stephan, Vienna, Austria
Grolier Club, New York, “The American Livre de Peintre”
Sperone Westwater, New York, “The Spirit of Drawing”
Galleria D’Arte Moderna, San Marino, San Marino Republic, “Italy-America: Abstraction
Redefined,” Demetrio Paparoni, Curator
Paolo Goyannes, Paris; Tennisport, Long Island City, NY, “Jours tranquilles à Clichy,” Alain
Kirili, Curator
Sperone Westwater, New York, “Summer Exhibition”
1994 Bardamu Gallery, New York, “Possible Things,” Vik Muniz, Curator
Todd Gallery, London; John Hansard Gallery, University of Southampton, England, “Choice,
Chance and Irony”
Hayward Gallery, London, England, “Unbound: Possibilities in Painting,” Greg Hilty and
Adrian Searle, Curators
Galerie De L’École Des Beaux-Arts, Lorient, France, “Le Temps D’Un Dessin,” Phillippe Briet,
Curator
Thread Waxing Space, New York, “Written /Spoken/Drawn in Lacanian Ink”
Bravin Post Lee, New York
Rhona Hoffman, Chicago, IL, “Painting”
Charles Cowles, New York, “About Color”
Galeri F15 Alby, Moss, Norway, “8 Rooms for Paiting,” Gertrud Sandquist, curator
Sperone Westwater, New York, “Summer Exhibition”
U.C.L.A. at the Armand Hammer Museum of Art, Los Angeles, CA, “The Assertive Image:
Artists of the Eighties from the Eli Broad Family Foundation”
Robert Miller, New York, “Abstract Works on Paper”
Schmidt Contemporary Art, Saint Louis, MO, “On Paper”
Center for the Fine Arts, Miami, FL, “Abstraction: A Tradition of Collecting”
Galleries Caterina Fossati, Eva Menzio, Giovanni Rimoldi, Turin, Italy, “American Paining
Now”
Galleria Carini, Prato, Italy, “Tutti Questi Mondi”
1995 Sperone Westwater, New York, “Emblems and Contours”
Museo De Arte y Diseño Contemporaneo, San Jose, Costa Rica, “Mesotica (the America
non-Representativa)”
Virginia Museum of Fine Arts, Richmond, VA, “Repicturing Abstraction”
Sarah Campbell Blaffer Gallery, University of Houston, Houston, TX; Illingworth Kerr
Gallery, Alberta College of Art, Edmonton, Canada; Sheldon Memorial Art Gallery,
University of Nebraska, Lincoln, NE; U.C.L.A. at the Armand Hammer Museum of Art, Los
Angeles, CA; Crocker Art Museum, Sacramento, CA; Madison Art Center, Madison, WI;
Lowe Art Museum, Coral Gables, FL; Krannert Art Museum, University of Illinois,
Champaign, IL; Frederick R. Weisman Museum, University of Minnesota, Minneapolis, MN,
“Critiques of Pure Abstraction,” Mark Rosenthal, Curator
Museum of Contemporary Art, Helsinki, Finland, “ARS 95 Helsinki”
Casino Luxembourg, Luxembourg, “Swinging Sixties, Sparkling Nineties”
Barbara Farber, Amsterdam, Holland, “Architecture of the Mind,” David Moos, Curator
Kunstverein Rheinland-Westpfalen, Dusseldorf, Germany; Württembergischer Kunstverein,
Stuttgart, Germany, “Das Abenteuer Der Malerei,” Raimund Stecker and Martin Hentschel,
Curators
Museo Alejandro Otero, Caracas, Venezuela, “Transatlantica: The America Europa Non-
Representativa,” Jacob Karpio and Ruth Auerbach, Curators
Museum Folkwang, Essen, Germany, “Positionen: Beobachtungen Zum Stand Der Malerei
In Den 90er Jahren”
Sperone Westwater, New York, “Summer Exhibition”
Contemporary Art Museum, University of South Florida, Tampa, FL; Wolfson Galleries,
Miami-Dade Community College, Miami, FL; Robert Hull Fleming Museum, University of
Vermont, Burlington, VT, “Refab-Painting Abstracted, Fabricated and Revised,” Shirley
Kaneda and Rochelle Feinstein, Curators
Charles Cowles, New York, “Under Glass”
Deutsches Haus, Columbia University, New York, “More Hysteria Please,” Josefina Ayerza,
Curator
Manfred Baumgartner, Washington, D.C.
Centre National D’Art Contemporain, Grenoble, France, “Morceaux Choisis Du F.N.A.C.”
Kunstverein St. Gallen im Kunstmuseum, St. Gallen, Switzerland, “Color and Paint”
L.A. Louver, Los Angeles, CA
1996 Friederich Petzel, New York”Screen,” Joshua Decter, Curator
Thaddaeus Ropac, Paris, and Salzburg, Austria, “Pratiques Abstraites”
Monika Sprüth, Cologne, Germany, “Malerei II”
Placio de Velazquez, Museo Reina Sofia, Madrid, Spain; Kunsthalle Bielefeld, Bielefeld,
Germany; Museu d’Art Contemporani, Barcelona, Spain, “Nuevas Abstracciones,” Enrique
66 Juncosa, Curator
Rolf Ricke, Cologne, Germany, “Form Als Ziel Mündet Immer In Formalismus”
Sperone Westwater, New York, “Summer Exhibition”
Gotland Konstmuseum, Gotland, Sweden, “The New York Scene”
Robert McClain, Houston, TX, “Investigations: American Abstraction”
Kunsthalle Zurich, Zurich, Switzerland, “Playpen & Corpus Delirium”
Forum for Contemporary Art, St. Louis, MO, “Reconditioned Abstraction,” Martin Ball,
Curator
Bravin Post Lee, New York
MacDonald Stewart Art Center, University of Ontario, Guelph, Canada, “New York
Abstraction,” David Moos, Curator
Baumgartner Galleries, Washington, D.C., “12 Years After: Jonathan Lasker, Thomas
Nozkowski, Gary Stephan”
LaGuardia Hall, Brooklyn College, Brooklyn, NY, “The New Narrative Abstraction,” Maria
Rand, Curator
1997 Musée d’Art Moderne, St. Étienne, France, “Abstraction/Abstractions-Géometries
Provisoires,” Eric De Chassey and Camille Morineau, Curators
Baumgartner Galleries, Washington, D.C., “New York On Paper”
Bernd Kluser, Munich, Germany
Newhouse Center for Contemporary Art, Snug Harbor Cultural Center, Staten Island, NY,
“After the Fall: Aspects of Abstract Painting Since 1970,” Lilly Wei, Curator
Bertha & Karl Leubsdorf Art Gallery, Hunter College, New York, “Turning the Corner:
Abstraction at the End of the Twentieth Century”
Sperone Westwater, New York, “Summer Exhibition”
Peter Stuyvesant Foundation, Amsterdam, Holland, “Groi in de Collectie”
Johnson Community College Gallery of Art, Overland Park, KS, “Essential Gestures ”
Berufsvereinigung Der Bilden Künstler Voralsberg, Künstlerhaus Palais Thurn und Taxis,
Bregenz, Austria, “Licht Raum . . . Schwarz”
1998 Mark Müller, Zurich, Switzerland, “Sensation der Farbe”
Museum of American Art of the Pennsylvania Academy of the Fine Arts, Philadelphia, PA,
“Pop/Abstraction,” Sid Sachs, Curator
White Columns, New York, “Raise the Roof: Benefit Exhibition”
Gallerie Evelyne Canus, La Colle-Sur-Loup, France, “Painting Objectives,” Shirley Kaneda,
Curator
Michael C. Carlos Museum, Emory University, Atlanta, GA, “Connections and
Contradictions: Modern and Contemporary Art from Atlanta Collections,” Genevieve
Arnold, Curator
1999 Villa du Parc, Annemasse, “Peinture, démarches actuelles,”
Schmidt Contemporary Art, St. Louis, “Mixed Bag: Summer Group Show”
Johnson County College, Gallery of Art, Overland Park, KS, “In Site: Constructing the JCC
Collection”
Galerie Daniel Templon, Paris, “Abstraction”
2000 Jan Weiner Gallery, Kansas City, “Universal Abstraction 2000”
Sala de Exposiciones del Palacio Episcopal, Málaga, Spain, “Paisajes de la colección en
Málaga. Colección de Arte Contemporaneo, Fundacion la Caixa”
Museo d’Arte della Citta di Ravenna, Ravenna “Arte Americana; Ultimo Decennio”
Eugene Binder, New York, “small abstract paintings and sculpture”
Michael Hue-Williams Fine Art, London, “Painting, I Love”
Susquehanna Art Museum, Harrisburg, Pennsylvania, “Post Pop”
Marcel Sitcoske Gallery, San Francisco, “Lasker, Marcaccio, Usle”
Timothy Taylor Gallery, London
Galerie Thaddaeus Ropac, Paris
2001 Kevin Bruk Gallery, Miami, “New paintings”
Galerie Rudolfinum, Prague, The Centre of Contemporary Art, “American Art from the
Goetz Collection, Munich”
Yale University Art Gallery, New Haven, CT, “Between Language and Form”
Nusser & Baumgart Contemporary, Munich, “Choose Your Partner”
Colby College Museum of Art, Maine, “Drawn From a Family”
Galerie Mark Müller, Zurich
2003 “Inaugural Groupshow,” Timothy Taylor Gallery, London, May 21-June 7.
2004 “Co-Conspirators: Artist and Collector, The Collection of James Cottrell and Joseph Lovett,”
Orlando Museum of Art, July 24- October 31, 2004.
BIBLIOGRAPHY
1981 Welch, Douglas, “Jonathan Lasker,” Arts Magazine, January, illus: “Sceptre,” color, p. 2
Smith, Roberta, “Group Exhibition at Tony Shafrazi,” Village Voice, 21 October
1982 Apfelschnit, Carl, “Bwanna’s Nightmare,” Bomb, no. 4, illus: “Bwanna’s Nightmare,” b/w, p.
48
1984 Ratcliff, Carter, Fact & Fiction, catalogue essay for exhibition at Tibor de Nagy Gallery, illus:
“Nature Study,” color
Howe, Katherine, “Review of New Biomorphism & Automatism,” Images and Issues,
March-April, pp. 18-19
Müller, Hans-Joachim, “Jonathan Lasker at Annette Gmeiner,” Badische Zeitung, 27 June,
illus: “Nature Study,” b/w
Ruhe, Barnaby, “Jonathan Lasker at Tibor de Nagy,” Art World, November, p. 10
Collins & Milazzo, Forced Sentiment, catalogue essay for exhibition at Artists Space, p. 5
1985 Carrier, David, “Painting into Depth: Jonathan Lasker’s Recent Art,” Arts Magazine, January,
illus: “Strawberry Fields,” “Nature Study,” color, “Ascension,” b/w, pp. 142-144
Cameron, Dan, “The Groundhog Report,” Arts Magazine, February, p. 96
Grimes, Nancy, “Review of 2 Smart Art Too,” Artnews, April, pp. 146, 148
Westfall, Stephen, “Jonathan Lasker at Tibor de Nagy,” Art in America, May, illus: “Three
Card Monte,” color, p. 173
Henry, Gerrit, ” Jonathan Lasker at Tibor de Nagy,” Artnews, May, illus: “Deep Purple,”
b/w, pp. 119-120
Masheck, Joseph, “Observations on Harking Back (and Forth),” New Observations, no. 28,
p. 11
Potter, Everett, “Review of Final Love,” Arts Magazine, Summer, p. 37
Collins & Milazzo, “New York: Final Love,” Creativa, no. 4, illus: “Idiot Savant,” b/w, p. 11
Gohr, Siegfried, Kölner Herbstsalon, catalogue essay for exhibition at Museum Ludwig,
illus: “The Sublimation of Love,” color, “Heart in a Whirl,” “Heath,” “Nature Study,” “Idiot
Savant,” “The Metaphysics of Matter,” b/w
Beigler, Beth, “Deconstructing Criticism: C & M,” East Village Eye, July, pp. 36-37
Haase, Amine, “Herbstsalon: Umgang Mit Der Kunstgeschichte,” Kölner Stadt Anzeiger, 9
August, p. 27
Schneider, Bruno, “Review of Herbstsalon,” Kölner Rundschau, 9 August, p. 11
Bungartz, Christoph, “Review of Herbstsalon,” Rheinpfällische Zeitung, 15 August
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unpaginated
Collins & Milazzo, “Art or Media: Neutral Trends,” East Village Eye, October, p. 38
Smith, Roberta, Vernacular Abstraction, catalogue essay for exhibition at Wacoal Art
Center, illus: “Asterix,” color
1986 Jones, Alan, “Cult of Decorum,” New York Talk, January, illus: “Large Weather,” b/w, p. 67
Cameron, Dan, Jonathan Lasker, catalogue essay for exhibition at Michael Werner Gallery,
illus: “Confessions of a Groundhog Fancier,” “Live it . . . Love It,” “Double The Fun,” “Beat
The System,” Heavy Mental,” color
Dank, Ralf, “Jonathan Lasker at Michael Werner: Freie Formen,” Kölner Stadt Anzeiger, 4
February, illus: “Rhetorical Remembrance,” b/w
Collins & Milazzo, “New York Scene: Tropical Codes,” Kunstforum, March, April, May, illus:
“The Metaphysics of Matter,” color, pp. 324-326
King, Elaine, and David Carrier, Abstraction/Abstraction, catalogue essays for exhibition at
Carnegie Mellon University, illus.: “The Metaphysics of Matter,” color
Bauermeister, Volker, “Beweggrund, Papiergrund,” Badische Zeitung, 15/16 February
Dank, Ralf, “Jonathan Lasker: 5 Bilder,” Kunstforum, June, July, August, illus: “Heavy
Mental,” “To Win At Art,” color, pp. 292-293
Jones, Alan, “Paravision,” (Collins & Milazzo interview), Galleries, August, September, illus:
“Main Event,” color, pp. 40-43
Westfall, Stephen, “Paravision: The Synthetic Sublime,” L.A. Weekly, 15-21 August, pp. 20-
22
Yau, John, “Jonathan Lasker at Tibor De Nagy Gallery,” Artforum, September, illus:
“Theories About Exotica,” b/w, p. 134
Schwabsky, Barry, “Abstraction and Its Double,” Arts Magazine, September, illus: “The
Metaphysics of Matter,” color, pp. 68-71
Saltz, Jerry, Beyond Boundaries: New York’s New Art, Alfred Van Der Marck Editions,
hardbound, 128 pp., with essays by Roberta Smith and Peter Halley, illus: “Theories About
Exotica,” “Synthetic Flamboyance,” “The Conscious Subconsious,” color
Dickhoff, Wilfried, editor, What It Is, catalogue for exhibition at Tony Shafrazi Gallery, illus:
“To Win At Art,” b/w
Masheck, Joseph, “Abstract Ironies,” The New Leader, 20 October, pp. 21-22
1987 Seliger, Jonathan, “Interstices,” Arts Magazine, March, illus: “An Argot For The Supreme
Being,” color, pp. 66 – 69
Ottmann, Klaus, “Modern Sleep,” Flash Art, April, pp. 92-93
Richard, Paul, “Painting in Past Tints, At the Corcoran’s Biennial, Contemporary New York
Artists,” The Washington Post, 11 April, pp. C1, C3
Rifkin, Ned, and Jane Livingston, The 40th Corcoran Biennial, catalogue essays for
exhibition at the Corcoran Gallery of Art, illus: “Theories About Exotica,” color
Masheck, Joseph, “Painting and Its Treble,” Jonathan Lasker, catalogue essay for exhibition
at Michael Werner Gallery, illus: “To Regain Virginity,” “Perfect Penmanship,” “To Caress
The Naked Eye,” “Look Alike,” “Fashionable Obscurity,” “Rogue Modernity,” “Return The
Favor,” “Non Sequitur Psyche,” color
Collins & Milazzo, “Hybrid Neutrals,” J.A.A. Journal, no. 7, pp. 123-125
Schwartz, Eugene, Post-Abstract Abstraction, catalogue essay for exhibition at Aldrich
Museum, illus: “An Argot for the Supreme Being,” “Logo,” b/w
Dank, Ralf, “Jonathan Lasker at Michael Werner: Reizende Puzzles,” Kölner Stadt Anzeiger,
5 May
Brenson, Michael, “Art View, The Corcoran Biennial: True Believers Who Keep the Flame of
Painting,” The New York Times, 7 June
McCoy, Pat, “Interstices,” Artscribe, Summer, illus: “An Argot For The Supreme Being,”
“The Sublimation of Love,” b/w, pp. 82-83
Carrier, David, “Washington: Corcoran Gallery Fortieth Biennial,” Burlington Magazine,
July, pp. 483-484
Zimmer, William, “Post-Abstract Abstraction In Ridgefield,” The New York Times, 5 July
Collings, Matthew, “Posthumous Meaning: Tricia Collins and Richard Milazzo Interviewed,”
Artscribe, September, illus: “Main Event,” color, pp. 44-49
Koether, Jutta, “Jonathan Lasker at Michael Werner, Cologne,” Artscribe, September, illus:
“To Regain Virginity,” color, pp. 88-89
Madoff, Steven, “Washington, D.C.: An Inevitable Gathering,” Artnews, September, p. 153
Loughery, John, “Affirming Abstraction: The Corcoran Biennial,” Arts Magazine,
September, pp. 76, 78
Cameron, Dan, N.Y. Art Now: The Saatchi Collection, Giancarlo Politi Editore, paperbound,
250 pp., illus: “Heart In A Whirl,” “Idiot Savant,” “The Oddness Factor,” “Live It . . . Love It,”
“Double The Fun,” “Beat The System,” “Blobscape,” color
Hagen, Charles, Artforum, October, pp. 135-136
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October, illus: “Hawaiian Punch,” b/w, p. 10
Hesler, Gerhard, “Um Den Brei Herum (Junge Maler in der Galerie Gmeiner),” Stuttgarter
Zeitung, 20 July
Martinsson, Sten, “Jonathan Lasker at Anders Tornberg,” Malmo Kvallsposten, 19
November, illus: “Tribal Publicity,” b/w
Zeylon, Hakan, “Jonathan Lasker at Anders Tornberg,” Skanska Dagbladet, 18 November,
illus: “The Aberrant Future,” b/w
Wachtmeister, Marika, “Jonathan Lasker at Anders Tornberg,” Sydsvenska Dagbladet, 12
November, illus: “To Regain Virginity,” b/w
Mueller, Cookie, “Art and About,” Details, February, pp. 69-70
Barbiero, Daniel, “The Fortieth Corcoran Biennial,” New Art Examiner, Summer, pp. 30-31
Unauthored, Jonathan Lasker: Paintings 1986-1987, catalogue for exhibition at Anders
Tornberg, illus.: “Tribal Publicity,” “Kinds of Love,” “The Aberrant Future,” “Ego Worship,”
“Eye Sex,” “To Manufacture Transcendence,” color
1988 Rantanen, Mari, “Interview with Jonathan Lasker,” Helsingin Sanomat, 21 February, illus:
“Popular Psyche,” color, p. A16
Zinsser, John, “Plotting Self-Doubt: The Paintings of Jonathan Lasker and Tom Nozkowski,”
Arts Magazine, May, illus: “Rogue Modernity,” color, pp. 82-83
Huebler, Douglas, John Miller, Stephen Prina, et al., CalArts: Skeptical Belief(s), catalogue
essays for exhibition at Renaissance Society and Newport Harbor Art Museum, illus: “The
Age of Plastic,” b/w, p. 4
Mahoney, Robert, “Jonathan Lasker at Massimo Audiello,” Arts Magazine, Summer, p. 108
Hatton, Brian, “N.Y. Art Now 2,” Flash Art, Summer, p. 142
Collins & Milazzo, Gary Indiana, Hybrid Neutral, Modes of Abstraction and The Social,
catalogue essays for travelling exhibition, illus: “Compound Beliefs,” b/w, p. 45
Rantanen, Mari, “Interview with Jonathan Lasker,” Taide Magazine, August, illus: “The
Conscious Subconscious,” “Contemporary Tribalism,” “Primordial Teenage,” “Double Play,”
color, pp. 38-42
Brüderlin, Markus, Schwarzwaldbild, catalogue essay for exhibition at Kunstverein
Hochrhein, illus: “A Week’s Work in the Schwarzwald,” color
Zinsser, John, “Jonathan Lasker at Massimo Audiello,” Art in America, November, illus:
“The Realm of the Quaint,” color, pp. 179-180
Wachtmeister, Marika, “Fran Elverk Till Konst Museum, Rooseum,” Femina Magasin,
December, illus: “Today’s Universe,” color, pp. 120-124
Morera, Daniela, “N.Y. Art,” L’Uomo Vogue, December, pp. 141-144
1989 Oosterhof, Gosse, Dan Cameron, Horn of Plenty, catalogue essays for exhibition at
Stedelijk Museum, illus: “Cosmic Shorthand,” “Digital Affection,” “Double Play,” Abstract
America,” color, “Fake Freak,” b/w
Ostrow, Saul, Diagrams & Surrogates, catalogue essay for exhibition at Shea & Beker
Gallery, illus: “The Redundant Sublime,” color, p. 8
Meloni, Lucilla, “Jonathan Lasker at G.E. Sperone,” Tema Celeste, January-March, illus:
“Fake Freak,” b/w, p. 69
Mammí, Alessandra, “Jonathan Lasker at G.E. Sperone,” Artforum, February, illus: “Fake
Freak,” b/w, p. 142
Collins & Milazzo, Hyperframes, Post Appropriation Discourse, The Yale Lectures, Volume I,
Editions Antoine Candau, Paris, paperbound, 55 pp. (English text), 57 pp. (French text)
Schwendenwien, Jude, “The Silent Baroque,” Contemporanea, October, illus: “Psychic
Governance,” p. 89
Collins & Milazzo, Cultural Promiscuity: A Dialogue With Jonathan Lasker, Gian Enzo
Sperone Editions, paperbound, unpaginated, illus: 13 Studies for a painting entitled
“Cultural Promiscuity,” color
Draxler, Helmut, “The Silent Baroque,” Flash Art, October, p. 144
Smith, Roberta, “Jonathan Lasker at Massimo Audiello,” The New York Times, 27 October,
p. C30
Leigh, Christian, editor, with numerous contributors, The Silent Baroque, Thaddaeus Ropac
Editions, hardbound, 288 pp., illus: “Psychic Governance,” color, 6 drawing project entitled
“The Ornate Psyche,” b/w
Paparoni, Demetrio, “Conversation With Jonathan Lasker,” Tema Celeste, October-
December, illus: “Born Yesterday,” “Those of Questionable Existence,” “Notes From a
Wooden Computer,” color, pp. 51-53
Westfall, Stephan, “Jonathan Lasker at Massimo Audiello,” Art Today (monthly video tape
publication), November, vol. 1 no. 1
Glueck, Grace, “Around Los Angeles, Private Foundations Offer Art to The Public,” The New
York Times, 28 December, pp. C13, C16
Collins & Milazzo, Art at the End of the Social, catalogue essay for exhibition at the
Rooseum, illus: “Contemporary Tribalism,” “For A Small Country,” “Beer Culture,” “Today’s
Universe,” color, pp. 184-187
Scuteri, Rosma, “Jonathan Lasker at G.E. Sperone,” Flash Art, Italian Edition, February-
March, illus: “Fake Freak,” b/w, p. 113
Van Nieuwenhuyzen, Martijn, “Horn of Plenty,” Flash Art, International Edition, March-
April, p. 102
Bosma, Marja, “Horn of Plenty,” Contemporanea, May, illus: “Digital Affection,” color, p.
94
Holst, Lise, “Diagrams and Surrogates,” Artnews, May, p. 171
Lombardi, Angela, “Interview with Jonathan Lasker,” Tema Celeste, April-June, illus:
“Cosmic Vernacular,” “The Realm of the Quaint,” “The New Infancy,” color, pp. 62-63
Greenspan, Stuart, “Art 2,The Schorr Collection,” Art & Auction, March, illus: “The New
Infancy,” color, pp. 138-141
Masheck, Joseph, David Shapiro, F. Pellizzi, P. Gettinger, 1979-1989 American, Italian,
Mexican Art from the Collection of Francesco Pellizzi, catalogue essays for exhibition at
Hofstra University, illus: “Spiritual Entertainment,” color, p. 37
Higuchi, Shoichiro, “Artist in New York: Jonathan Lasker,” Anthropos, November, illus:
“Cosmic Vernacular,” color, pp. 132-134
Paparoni, Demetrio, & Michelangelo Castello, Specchi Ustori, Tema Celeste Edizioni,
Siracusa, Italy, paperbound, 133 pp., illus: series of 4 drawings
1990 Kaneda, Shirley, “Interview with Jonathan Lasker,” Bomb, Winter, illus: “Born Yesterday,”
“Arcane Reasoning,” “Worlds of Mutual Exclusion,” b/w, pp. 16-19
Schwendenwien, Jude, “A Thousand Words, Jonathan Lasker’s Sublime Discourse,”
Artscribe, January-February, illus: “Today’s Universe ,” “Popular Psyche,” “The Big Picture,”
color, pp. 58-61
Masheck, Joseph, “Painting in Double Negative, Jonathan Lasker’s Third-Stream
Abstraction,” Arts Magazine, January, illus: “Baroque Transparency,” “Expressive
Abstinence,” “Born Yesterday,” “Gutteral Antiquity,” color, pp. 38-43
MacAdam, Barbara, “Jonathan Lasker at Massimo Audiello,” Artnews, February, illus: “Born
Yesterday,” b/w, pp. 154-155
Collins & Milazzo, Token Gestures, catalogue essay for exhibition at Scott Hanson Gallery,
illus: “After Right and Wrong,” b/w, unpaginated
Higuchi, Shoichiro, “This Side and the Opposite Side of Lasker’s Screen,” Idea, March, illus:
“Obscure Designs,” “Notes from a Wooden Computer,” color, “Contemporary Tribalism,”
b/w, pp. 126-127
Carrier, David, “Abstract Working Spaces: Jonathan Lasker at Massimo Audiello,” Art
International, Spring, illus: “Rural Geometry,” color, pp. 68-70
Kisters, Juergen, “Galerie Werner Zeigt Jonathan Lasker,” Kölner Stadt Anzeiger, April
21/22
Ratcliff, Carter, “Notes on Line,” Art in America, June, illus: “Euphoric Routines,” color, pp.
152-157
Rantanen, Mari, Worlds, Maailmat ’90, catalogue essay for exhibition at Joensuu Art
Museum, illus: “Worlds of Mutual Exclusion,” “Today’s Universe,” color, pp. 21-25
Reindl, Uta, “Jonathan Lasker at Michael Werner,” Kunstforum, June-July, illus: “Arcadian
Sections,” color, p. 312
Schwendenwien, Jude, The Significance of Moments, catalogue essay for solo exhibition at
Michael Werner Gallery, illus: “Terse Psyche,” “Simple Painting,” “Gutteral Antiquity,”
“Formalities of Self,” “Standards of Expression,” “Arcadian Sections,” “Born Yesterday,”
“Infant Wisdom,” “To Be A Thing,” “Cosmic Self-Evidence,” color
Snitzer, Joan, “Token Gestures,” Tema Celeste, July-October, pp. 68-69
Crone, Rainer and David Moos, “Painting at a Moment,” Painting Alone, catalogue essay
for exhibition at Pace Gallery, illus: “The Spiritual Economy,” color, p. 51
Pincus-Witten, Robert, and Collins & Milazzo, The Last Decade: American Artists of the
Eighties, catalogue essays for exhibition at Tony Shafrazi Gallery, illus: “Mantra to a
Distracted God,” color
Collins & Milazzo, Hyperframes: A Post Appropriation Discourse, Volume II, Editions
Antoine Candau, Paris, paperbound, 108 pp., (English text), 117 pp. (French text)
Smith, Roberta, “Painting Alone,” The New York Times, 12 October, p. C23
Reisman, David, “Token Gestures,” Artscribe, September-October, p. 88
Schwabsky, Barry, “Forwarding Address: Abstract Painting in Some Recent Manifestations,”
Arts Magazine, November, pp. 96-97
Zetterstrom, Jelena, “Spänning Rörelse: Jonathan Lasker at Anders Tornberg,” Sydsvenska
Dagbladet, 24 November
Kaneda, Shirley, “Painting Alone,” Arts Magazine, December, p. 84
Unauthored, Jonathan Lasker, catalogue for solo exhibition at Anders Tornberg Gallery,
illus.: 16 untitled darwings, color
Kuspit, Donald, Artforum, December, pp. 131-132
Balmas, Paolo, “New York, A Kaleidoscope from Outside: Jonathan Lasker at Massimo
Audiello,” Segno, Annual Edition, p. 36
1991 Ostrow, Saul, “Painting Alone,” Tema Celeste, January-February, p. 90
Ostrow, Saul, Strategies for the Next Painting, catalogue essay for exhibition at Wolff
Gallery and Feigen Inc., illus: “Some Like Love,” b/w, p. 6
Masheck, Joseph, “Haven’t We Met Before? Between Intuition and Reason,” catalogue
essay for exhibition at the Grossman Gallery, unpaginated, illus: “Double Play,” “After Right
and Wrong,” “The Big Picture,” color
Collins & Milazzo, “From Kitsch to Kant and Back Again,” Tema Celeste, January-February,
pp. 76-80
Jones, Alan, “Carte Blanche: Books in Artists’ Lives, Part II,” Arts Magazine, February, pp.
25-26
Crone, Rainer and David Moos, “Romance of the Real,” Interpreting Contemporary Art,
essay in an anthology. Stephen Bann and William Allen, Editors, Reaktion Books,
paperbound, 229 pp., illus.: “Double Play,” color, “Main Event,” “The Excessive Norm,”
“Flowers Bomb,” “Baroque Transparency,” b/w
Paparoni, Demetrio, “Le Pulsioni Dell’Arte,” Riza Scienze, April, illus: “Mantra To a
Distracted God,” color, p. 53 and magazine cover
Ayerza, Josefina and Lynn Crawford, “Jonathan Lasker” and “Abstracts of a Conversation
with the Artist,” Lancanian Ink, no. 3, illus: 6 untitled drawings, b/w, pp. 68-75 and back
cover
Kaneda, Shirley, “Painting and Its Others,” Arts Magazine, Summer, p. 62
Forstbauer, Nikolai, “Feuilleton: Liebenswerter Kunst-Irrgarten,” Stuttgarter Nachrichten,
13 June, illus: “Born Yesterday,” b/w
Forstbauer, Nikolai, “Was Für Eine Grossartige Malerei,” Stuttgarter Nachrichten, 24 June,
illus: “Why Things Are,” b/w
Forstbauer, Nikolai, “Jonathan Lasker: Why Things Are Born Yesterday,” Zyma, 24 June,
illus: “Born Yesterday,” “Cosmic Self-Evidence,” “To Be A Thing,” color, pp. 22-25
Ericsson, Lars, “Jonathan Lasker at Lars Bohman,” Dagens Nyheter, 6 September, illus:
untitled oil study, color, p. B3
Newhall, Edith, “Fall Preview,” New York Magazine, 23 September, p. 62
Sandqvist, Gertrud, “Jonathan Lasker at Lars Bohman,” Svenska Dagbladet, 21 September
Mahoney, Robert, Arts Magazine, October, p. 95
Barilli, Renato, Jan Avgikos, et al., Anni Novanta, catalogue essays for exhibition at the
Bologna Galleria d’Arte Moderna, illus: “Cosmic Self-Evidence,” color, “Public Love,” “Ode
to a Mutt,” b/w., pp. 62, 63
Hagen, Charles, “Art in Review: Jonathan Lasker at Sperone Westwater,” The New York
Times, 18 October, p. C28
Gookin, Kirby, Rainer Crone, and David Moos, “Drawing a Line Between Illusion and
Reality,” and “The Status of Beauty: Jonathan Lasker and the Rose,” Jonathan Lasker,
catalogue essays for solo exhbition at Sperone Westwater Gallery, illus: “Fake Freak,” “The
Politics of Reality,” “Digital Affection,” “Histrionic Infinity,” “The Big Picture,” “Euphoric
Routines,” “How To Be,” “Some Share Eternity,” “Public Love,” “To Believe in Food,” “The
History Of The Boudoir,” “Improved Expressions,” “To an Object of Love,” “Polite Cosmos,”
“The Power of Weakness,” “The Division of Happiness,” color; “Arcadian Sections,”
“Cosmic Self-Evidence,” b/w
Wheeler, Daniel, Art Since Mid-Century: 1945 to the Present, Vendome Press, hardbound,
344 pp., illus: “Today’s Universe,” color
Paparoni, Demetrio, The Metaphysics of Light, catalogue essay for exhibition at John Good
Gallery, illus: “Rustic Psyche,” color
Paparoni, Demetrio, “Conversation with Jonathan Lasker,” Tema Celeste, Autumn, illus:
“The Cosmic Vernacular,” “Standards of Expression,” “The Meaning of Pleasure,” “Love’s
Rhetoric,” color, pp. 88-89, cover
Görner, Veit, “Expertentip-Etabliertes Für Einsteiger,” Pan, October, illus: “Born
Yesterday,” color, p. 24
Janis, Carroll, Jonathan Lasker, et al., Conceptual Abstraction, catalogue essay for
exhibition at Sidney Janis Gallery, unpaginated, illus: “Arcadian Sections,” b/w
Balmas, Paolo, “Il Caso Lasker,” Segno, September, pp. 20, 22-23
Weinstein, Matthew, “Jonathan Lasker at Sperone Westwater,” Artforum, December, illus:
“Polite Cosmos,” b/w, pp. 97-98
Schwabsky, Barry, “Jonathan Lasker at Sperone Westwater,” Arts Magazine, December,
illus: “The Power of Weakness,” color, p. 66
Kaufman, Ruth, Mike Metz, Stubborn Painting, catalogue essays for exhibition at Max
Protetch Gallery, unpaginated, illus: “Natural Formality,” “Canaletto,” “The Excessive
Norm,” b/w
Richardson, Trevor, Art on Paper, catalogue essay for exhibition at Weatherspoon Art
Gallery, illus: untitled drawing, b/w, p. 15
Smith, Roberta, “Art in Review-Conceptual Abstraction,” The New York Times, 27
December, p. C31
Dietmar, Carl, Die Chronik Kölns, Kölner Stadt Anzeiger-Chronik Publications, hardbound,
600 pp., illus: “Infant Wisdom,” and “To Be a Thing” in installation at Michael Werner
Gallery, color
Taeger, Alisa, “Color and Abstract Painting: Expanding the Palette,” Lapis, October, illus:
“Public Love,” pp. 62-65
Myers, Terry, “Jonathan Lasker at Sperone Westwater,” Lapiz, November, illus: “To an
Object of Love,” color, p. 67
1992 Johnson, Ken, “Jonathan Lasker at Sperone Westwater,” Art in America, January, illus: “To
an Object of Love,” color, pp. 111-112
Smith, Roberta, “Abstraction: A Trend That May Be Coming Back,” The New York Times, 10
January, p. C28
Rosenberg, Barry, and Peter Halley, The City Influence, catalogue essays for exhibition at
Dayton Art Institute, unpaginated, illus: “Love’s Rhetoric,” “Notes From A Wooden
Computer,” “Rustic Psyche,” “To an Object of Love,” “The History of the Boudoir,” color
Feldman, Melissa, Jonathan Lasker, Paintings, 1985-1991, catalogue essay for solo
exhibition at I.C.A., unpaginated, illus: “The Meaning of Pleasure,” “Improved Expressions,
” The Sublimation of Love,” “The Realm of the Quaint,” “Landscape with Blob,” color
Sozanski, Edward, “Jonathan Lasker at I.C.A.,” Philadelphia Inquirer, 2 February, pp. K1, K5
MacAdam, Barbara A., “La Metafisica della Luce at John Good,” Artnews, February, pp.
128-129
Gardner, Paul, “Do Titles Really Matter?” Artnews, February, illus: “Euphoric Routines,”
color, p. 97
Mullinax, Gary, “Jonathan Lasker at I.C.A.,” Willmington Journal, 2 February, illus:
“Improved Expressions,” b/w
Welish, Marjorie, “Abstraction, Advocacy of,” Tema Celeste, January-March, illus:
“Arcadian Sections,” “Rustic Psyche,” color, pp. 74-79
Carrier, David, “Afterlight: Exhibiting Abstract Painting in the Era of its Belatedness,” Arts
Magazine, March, pp. 60-61
Madoff, Steven Henry, “A New Lost Generation,” Artnews, April, illus: “The Division of
Happiness,” color, pp. 72-77
Mahoney, Robert, “Review of Stubborn Painting,” Arts Magazine, April, pp. 90-91
Cameron, Dan, “Crtical Edge: The Outlaw Academy,” Art & Auction, May, pp. 96, 98
Liebmann, Lisa, “Documenting Documenta,” Interview, June, pp. 44, 46, 48, 50
Sandqvist, Gertrud, “Documenta Satter Reglerna Ur Spel,” Svenska Dagbladet, 21 June,
p.13
Kimmelman, Michael, “At Documenta It’s Survival of the Loudest,” The New York Times, 5
July, p. 27
Levin, Kim, “Jan Who? Docu What?,” Village Voice, 14 July, pp. 95-96
Murphy, Mary, “Consciousness in the Abstract,” New Art Examiner, Summer, illus: “Rustic
Psyche,” b/w 16-20, pp. 16-20
Collins & Milazzo, Theoretically Yours, catalogue essay for exhibition at Museo Regione
Autonoma della Valle d’Aosta, 224 pp., illus: “Main Event,” color
Ricke, Rolf, editor, Kinder: Macht Neues, catalogue for exhibition at Rolf Ricke Gallery,
unpaginated, illus: “Love’s Rhetoric,” color
Schlagheck, Irma, “Documenta IX: Riskanter Balanceakt Mit 186 Artisten,” Art, June, illus:
“To Believe in Food,” color, pp. 26-46
Faust, Wolfgang Max, “Die Kunst Nach Dem Tod Der Modernen Stile: Erste Hilfe Für
Besucher Der Documenta 9,” Art, June, illus: “The History of the Boudoir,” color, pp. 48-49,
51-53
Hoet, Jan, Denys Zacharopoulos, Bart De Baere, Pier Lugi Tazzi, et al., Documenta IX,
catalogue for exhibition in Kassel, illus: “To Believe in Food,” “The History of the Boudoir,”
color, 619 pp.
Dagen, Philippe, “Jonathan Lasker: Tableaux Froids,” Le Monde, 17 June
Schjeldahl, Peter, “Documenta of the Dog, “Art in America, September, pp. 77, 88-97
Ayres, Anne, “Documenta IX, “Art Issues, September-October, pp. 34-35
Ardenne, Paul, “Jonathan Lasker at Thaddaeus Ropac,” Art Press, September, illus: “Styles
of Being,” b/w, p. 91
Levi, Paolo, “Giovani Informali,” Capital, July, illus: “To Win at Art,” color, pp. 182-184, 186
Kunz, Martin, “U.S.A.-Blickpunkt Eastcoast,” Kunstforum, no. 119, illus: “To Believe in
Food,” “The History of the Boudoir,” color, pp. 168, 381
Collins & Milazzo, Who’s Afraid of Duchamp, Minimalism, and Passport Photography?,
catalogue essay for exhibition at Annina Nosei Gallery, unillustrated, 31 pp.
Schwarzwälder, Rosemarie, editor, Abstract Painting Between Analysis and Synthesis,
catalogue for exhibition at Galerie nächst St. Stephan, paperbound, 155 pp., illus:
“Theoretical Pleasure,” color, “Hark,” b/w
Goetz, Stephan, American Artists in Their New York Studios: Conversations about the
Creation of Contemporary Art, Daco-Verlag Guenter Blaese, hardbound, 176 pp., illus:
untitled drawing, b/w
Adcock, Craig, “Documenta IX,” Tema Celeste, Autumn, pp. 84-86
Paparoni, Demetrio, “L’Arancia e il Suo Succo, L’Astrazione Tra Realtá e Simulazione,” Tema
Celeste, April-June, illus: “The Cosmic Vernacular,” color, p. 59
Beatrice, Luca, “Theoretically Yours,” Tema Celeste, Autumn, p. 101
Smolik, Noemi, “Kinder Macht Neues,” Artforum, December, p. 105
Mitchell, Charles Dee, “Jonathan Lasker Epitomizes a New Wave of Abstract Painters,” The
Dallas Morning News, 8 December, illus: “The Happiness of Nations,” color, pp. 1C, 3C
1993 Collins & Milazzo, “Culturele Ontmaskering, Een Vraagesprek Met Jonathan Lasker,”
Metrpolis M, February, illus: “Improved Expressions,” “Some Like Love,” “The Happiness of
Nations,” color, “The Unlearning,” “Painting for an Invisible Generation,” “Styles of Being,”
“Nice N.Y.C.,” b/w, pp. 20-25
Blotkamp, Carel, “In Praise of Painting (Crisis? What Crisis?),” Huttenloecher, Lasker, Van
Meerendonk, catalogue essay for solo exhibition at Witte de With Center for
Contemporary Art, illus: “Cosmic Self-Evidence,” “Infant Wisdom,” “How To Be,”
“Reasonable Painting,” “Some Share Eternity,” “The Ecstasy of Logic,” “Painting for an
Invisible Generation,” “When Dreams Work,” color, hardbound, 94 pp.
Unauthored, The Brushstroke: Painting in the 90’s, catalogue for exhibition at Ruth Bloom
Gallery, illus: “Arabesque Quotations,” color
Wesseling, Janneke, “Het Spook Van De Netvlieskunst,” NRC Handelsblad, 12 February,
illus: “How To Be,” b/w, p. 4 of cultural supplement
Masheck, Joseph, Modernities: Art-Matters in the Present, Penn State Press, hardbound,
304 pp., illus: “Spiritual Entertainment,” b/w
Pinchbeck, Daniel, “Openings,” Art & Antiques, April, illus: “Ode to Basketball,”color, p. 21
Danto, Arthur, “Art After the End of the Art,” Artforum, April, illus: “Invective Decor,” color
and b/w, cover, pp. 3, 62-69
Jansen, Bert, “Witte De With Doet Persoonlijk Verslag Gevolgde Route,” Het Financieele
Dagblad, 6 March, illus: “How To Be,” “Some Like Love,” b/w, p. 13
Jacobs, Cornee, “Hedendaagse Abstracte Schilders in Witte de With,” Utrechts Nieuwsblad,
23 February, illus: “Some Like Love,” b/w
Iles, Vera, “Kunst of Geen Kunst, dat is De Vraag Niet,” Elsevier, 18 February, illus: “How To
Be,” color, p. 94
Welling, Dolf, “Op Zijn Hondjes Kijken in Witte de With,” Rotterdams Dagblad, 16 February
Suetoe, Wilma, “Is De Schilderkunst Uuitgetput En Voorbij?,” De Volkskrant, 18 February
Wiens, Ann, “On View: Jonathan Lasker at Rhona Hoffman Gallery, ” New Art Examiner,
May, illus: “Selective Identity,” b/w, pp. 36-37
Hoenjet, Frank, “Huettenloecher, Lasker and Van Merendonk,” Forum International, May-
August, p. 132
Crone, Rainer, and David Moos, Jonathan Lasker, Telling the Tales of Painting: About
Abstraction at the End of the Millenium, Edition Cantz, hardbound, 189 pp., illus: 60 oil
studies, color
Paparoni, Demetrio, “The Self-Regulation of the System,” Italy-America: Abstraction
Redefined, catalogue essay for exhibition at Galleria Nazionale d’Arte Moderna, illus:
“Digital Affection,” color, 175 pp.
Sonna, Birgit, “Aktuell in Münchener Gallerien: Jonathan Lasker at Bernd Klüser,”
Sueddeutsche Zeitung, 15 June
Spadano, Lucia, “Interview with Demetrio Paparoni,” Segno, Summer, p. 36
Schwarz, Arturo, “Una Mostra Da Non Perdere,” Segno, Summer, pp. 37-39
Carrier, David, “Italia/America, L’Astrazione Ridefinita,” Segno, Summer, illus: “Digital
Affection,” color, p. 35
Neri, Louise, editor, “Cherchez la femme Peintre (an Inquiry),” Parkett, no. 37, p. 143
Larson, Kay, “Jonathan Lasker at Sperone Westwater,” New York Magazine , 11 October, p.
82
Plagens, Peter, “The Soho Scene Lights Up: Jonathan Lasker at Sperone Westwater,”
Newsweek, 11 October, illus: “The Value of Pictures,” color, p. 58
Liebman, Lisa, “Art: Cool Kid. Jonathan Lasker at Sperone Westwater,” The New Yorker, 18
October, p. 20
Joyner, Will, “Is It Art? Just Ask Any Child,” The New York Times, 12 November, pp. C1, C6
Rainwater, Robert, The American Livre De Paintre, catalogue essay for exhibition at the
Grolier Club, illus: drawing for “Not a First,” b/w, p. 26
Hixson, Kathryn, “Jonathan Lasker at Rhona Hoffman Gallery,” Forum International,
October-November, illus: “Natural Order”, b/w, p. 135
Kuspit, Donald, “Jonathan Lasker at Sperone Westwater,” Artforum, December, illus:
“Reverse Society,” b/w, p. 80
Cameron, Dan, Book Review of “Jonathan Lasker: Telling the Tales of Painting,” Artforum,
December, p. 73
Welish, Marjorie, Arthur Danto, and Rainer Crone, New York Painters, catalogue essays for
exhibition at Sammlung Goetz, illus: “Inlet,” “The Trophies,” “Cave Painting,” “Standards of
Expression,” “Infant Wisdom,” b/w, “Cosmic Self-Evidence,” “Invective Decor,” twelve
untitled studies, color, 73 pp.
Trimarco, Angelo, “Italia/America, L’Astrazione Ridefinita,” Tema Celeste, Autumn, illus:
“Digital Affection,” color, pp. 68-69
1994 Searle, Adrian, Unbound: Possibilities in Painting, catalogue essay for exhibition at
Hayward Gallery, illus: “Public Love,” “Natural Order,” “Reverse Society,” “Styles of Being,”
color, cover, pp. 66-71
Cork, Richard, “Painting is Back in the Picture,” The London Times, 8 March, illus: “Public
Love,” b/w, p. 35
Lillington, David, “Zeitgeist,” Time Out, 9-16 March, p. 2
Graham-Dixon, Andrew, “Sort of, Almost, In a Way, Nearly,” The Independent, 15 March,
p. 15
Januszczak, Waldemar, “A State of Confusion,” The London Times, 13 March, illus: “Styles
of Being,” color, pp. 28-29
Packer, William, “Unbound: Possibilities in Painting,” Financial Times, 15 March
Briet, Philippe, Le Temps D’Un Dessin, catalogue poem for exhibition at École Des Beaux
Arts De L’Orient, unpaginated, illus: untitled drawing, b/w
Bonami, Francesco, “Jonathan Lasker: Meaning Can Happen,” Flash Art, May-June, illus:
“The Value of Pictures,” “Natural Order,” “The Outsides Are In,” color, pp. 94-95
Milner, Catherine, “A Brighter Picture,” London Times Magazine, 29 January, illus: “Public
Love,” color
Batchelor, David, “Behind a Painted Smile: Unbound at the Hayward Gallery”, Frieze, May,
illus: “Public Love”, b/w, pp. 18-21
McKay, Ian, “Back to Basics,” The Sunday Times, 23 March
Carrier, David, The Aesthete in the City: The Philosophy and Practice of America Abstract
Painting in the 1980’s, Penn State Press, hardbound, 290 pp., illus: “Ascension,” “Nature
Study,” “Strawberry Fields,” b/w
Monteil, Anne Marie, “Wenn Ungleiches Den Diskurs Versucht: Jonathan Lasker in der
Galerie Buchmann,” Basler Zeitung, 14 June, illus: “How to Be Unique,” color
Paparoni, Demetrio, L’Astrazione Ridefinita, Tema Celeste Editions, paperbound, 112 pp.,
illus: “Rustic Psyche,” “Digital Affection,” color
Plagens, Peter, “Crisis in the Contemporary,” Art & Auction, June, pp. 76-78, 113
Cameron, Dan, “Crisis in the Contemporary: A Response,” Art & Auction, June, pp. 79, 113
Archer, Michael, “Unbound,” Art & Text, May, illus: “Public Love,” b/w, p. 85
Godfrey, Tony, Chance, Choice and Irony, catalogue essay and interviews for exhibition at
Todd and John Hansard Galleries, illus: “The Politics of Reality,” color, p. 72
Dannatt, Adrain, “Painting by Numbers,Three Painting Shows,” Flash Art, Summer, pp. 120-
121
Anonymous, The Assertive Image, catalogue essay for exhibition at Armand Hammer
Museum of Art, illus: “Contemporary Tribalism,” color, p. 11
Kildahl, Merete, “Malerei, Kropp Og Rom,” Moss Dagblad, 3 June, p. 28
Stafne, Anne Lise, “Kropp Rom-Og Dialog,” Aftenposten, June 5
Blom, Ina, “Maleriet Som Sted Pa F15,” Aftenposten, 17 June, illus: “Life Can Be Beautiful,”
b/w
Sandberg, Lotte, “Maleriet Lever Pa Jeloy,” Dagbladet, 20 June
Lillington, David, “Unbound,” Metropolis M, June, illus: “The Pride of Being,” color, pp. 52-
53
Birnbaum, Daniel, “Jonathan Lasker at Lars Bohman,” Dagens Nyheter, 16 September, illus:
“Real Imaginary,” color, p. B3
Saltz, Jerry, “A Year in the Life: Tropic of Painting,” Art in America, October, illus: “Terms of
Reality,” color, pp. 100-101
Ocvirk, Otto, Robert Stinson, et al., Art Fundamentals, hardbound, 336 pp., W.C.S. Brown &
Benchmark Press, illus: “The Division of Happiness,” color
Ostrow, Saul, Jonathan Lasker: A Pre-Fab View, catalogue essay for solo exhibition at
Bravin Post Lee, 36 pp., illus: “Heath,” “The View from Home Plate,” “5 of Sapdes,” “Land
O’Goshen,” “Crystal Falls,” “Sceptre,” “Greek,” “An Intrusion of Dawn,” “Pre-Fab View,”
“Procession,” “Heart in a Whirl,” “Lemon Smash,” color
Van Den Heeg, Eric, “Interview with Jonathan Lasker,” Material, October, illus: “Reverse
Society,” b/w
Rosenthal, Mark, “Critiques of Pure Abstraction: Jonathan Lasker,” Atelier, July, illus.:
“Born Yesterday,” “The Happiness of Cannibals,” color, cover, p. 98
Francis, Mary Ann, “Chance, Choice and Irony,” Untitled, Summer, p. 23
Unauthored, American Painting Now, catalogue for exhibition at Galleries Fossati, Menzio
and Rimoldi, illus.: “The Politics of Reality,” untitled oil study, color
Soave, Lorenzo Pittore, Tutti Questi Mondi, catalogue for exhibition at Galleria Carini, illus.:
“How To Be,” color
Schjeldahl, Peter, and W. Jackson Rushing, Abstraction: A Tradition of Collecting in Miami,
catalogue essays for exhibition at the Center for Fine Arts
1995 Bankowsky, Jack, “Talk with Klaus Kertess: The Art of the Matter, Curating the Whitney
Biennial,” Artforum, January, pp. 71-104
Shaw, Brittain, “Critiques of Pure Abstraction: Blaffer Exhibit Puts Abstraction in Modern
Light,” Houston Chronicle, 28 January, pp. 1-4
James, Eric, “Critiques of Pure Abstraction: Blaffer Gallery Goes Abstract,” Houston Daily
Cougar, 1 February
Ayerza, Josephina, Editor, “Written, Spoken, Drawn in Lacanian Ink,” Lacanian Ink, Winter,
illus: untitled drawing, b/w, p. 95
Schjeldahl, Peter, “On a Lasker,” Jonathan Lasker, catalogue essay for solo exhibition at
Soledad Lorenzo Gallery, 38 pp., illus: “The Divergence of Truth and Beauty,” “Articulate
Ecstasy,” “Natural Order,” “Expression of an Uncertain Universe,” “Interpretive Painting,”
“The Consciousness of Animals,” five untitled oil studies, color
Danvila, Jose Ramon, “Jonathan Lasker at Soledad Lorenzo: Tecnica Directa, Directa
Pintura,” El Punto de las Artes, 3-9 February, illus: “The Consciousness of Animals,” b/w
Florez, Fernando Castro, “Jonathan Lasker at Soledad Lorenzo Gallery: Una Pintura en
Busca de Divergencias,” Diario 16, 3 February, illus: “The Divergence of Truth and Beauty,”
b/w
Arkio, Tuula, and Maaretta Jaukkuuri, Ars 95 Helsinki, catalogue essays for exhibition at
Museum of Contemporary Art, illus: “Reverse Society,” color, pp. 72-73
Ericsson, Lars O., “Ars ’95: Valrdskonsten Till Helsingfors,” Dagens Nyheter, 17 February, p.
B3
Fechner-Smarsly, Thomas, “Ars ’95: Standort Bestimmung in Helsinki,” Neue Bildende
Kunst, February, pp. 42-45
Fechner-Smarsly, Thomas, “Ars ’95: Periphere und Perfide Idyllen,”Frankfurter Rundschau,
p. 7
Rosenthal, Mark, Critiques of Pure Abstraction, catalogue essay for traveling exhibition,
unpaginated, illus: “The Happiness of Cannibals,” color
Schiche, Ericka, “Critiques of Pure Abstraction: Abstract Divorce,” Public News, 22
February, p. C12
Jimènez, Pablo, “Jonathan Lasker at Soledad Lorenzo Gallery: Esplendores De La Pintura,”
ABC Cultural, 24 February, illus: “The Consciousness of Animals,” b/w
Serraller, Francisco Calvo, ” Jonathan Lasker at Soledad Lorenzo Gallery: Pintar en frio,” El
Pais, 25 February, illus: “The Divergence of Truth and Beauty,” b/w
Melrod, George, “Openings: Exploring Nature and Line as Metaphor,” Art & Antiques,
February, illus: “The Happiness of Nations,” color, pp. 29-30
Schels, Evelyn, “Heiter in den Untergang,” Elle (German Edition), February, illus: “The
Outsiders Are In,” “Moral Fantasia,” “The Value of Pictures,” color, pp. 84-88
Danto, Arthur, H. Ashley Kistler, et al., Repicturing Abstraction, catalogue essays for
exhibition at Virginia Museum of Fine Arts, illus.: “mantra to a Distracted God,” color, pp.
46-47
Dreher, Thomas, “Antiquiertheit Der Malerei?,” Pittura Immedia, catalogue essay for
exhibition at Kunstlerhaus Graz, illus: “The Politics of Reality,” b/w, pp. 27-35
Goldberger, Paul, “The Art of His Choosing: Klaus Kertess Curates the 1995 Whitney
Biennial,” The New York Times Magazine, 26 February, pp. 30-38
Pagel, David, “Jonathan Lasker at L.A. Louver: Lasker’s Own Purposeful Purposelesslness,”
Los Angeles Times, 2 March, p. F4
Rubinstein, Raphael, “Counter Resolution: Jonathan Lasker Approach to Abstraction” Art in
America, April, illus: “Hermeneutic Picture,” “5 of Spades,” “The Realm of the Quaint,”
“Interpretative Painting,” “Expressions of an Uncertain Universe,” “Articulate Ecstasy,”
color, pp.84-89
Freedman, Lynn, editor, Independent Curators Incorporated, producer, Critiques of Pure
Abstraction, introductory videotape accompanying touring exhibition
Olmo, Santiago B., “Color y Forma, Orden y Caos-Entrevista con Jonathan Lasker,” Lapis,
April, illus: “Expressions of an Uncertain Universe,” “The View from Home Plate,” “Lemon
Smash,” “Pre-Fab View,” “The Consciousness of Animals,” “Articulate Ecstasy,” “Heart in a
Whirl,” “Natural Order,” two untitled oil studies, color, pp. 56-63
Risatti, Howard, “On View: Repicturing Abstraction,” New Art Examiner, April, illus:
“Mantra to a Distracted God,” b/w, pp. 32-33, 57
Valjakka, Timo, “Letter from Helsinki: Art to Finnish,” Artforum, May, pp. 27-28
Berger, John, et al., Das Abenteuer Der Malerei, catalogue essays for exhibition at
Kunstverein Rheinland-Westfalen and Württembergischer Kunstverein, illus: “The Kissed
and the Missed, “Moral Highlights,” “Articulate Ecstasy,” color, pp. 165-167
Moos, David, and Philip David Zelazo, Architecture of the Mind, catalogue essays for
exhibition at Barbara Farber Gallery, unpaginated, illus: study for “The Eternal Silence of
Infinite Space,” color
Van De Velde, Paola, “Architecture of the Mind,” Courant Nieuws, 25 April
Gayer, John, “Ars 95 at Helsinki,” C Magazine, Summer, pp. 35-36
Ostrow, Saul, “Un Ensemble Fragmenté: La Peinture Abstraite Après le Modernisme,” Art
Press, no. 16, illus: “5 of Spades,” “Scotties’s Wasteland,” “Lemon Smash,” color, p. 158
Stolz, George, “Jonathan Lasker at Soledad Lorenzo,” Artnews, September, illus: “The
Divergence of Truth and Beauty,” b/w, p. 160
Finckh, Gerhard, and Ralf Dank, Positionen-Beobachtungen zum Stand der Malerei in den
90er Jahren, catalogue essays for exhibition at Folkwang Museum, illus: “Infant Wisdom,”
“Standards of Expression,” “Invective Décor,” “How to Be Unique,” “Artistic Painting,” five
untitled oil studies on paper, color, pp. 39-49
Kaeppelin, Olivier, “Jonathan Lasker: Public Love,” Morceaux Choisis, catalogue essay for
exhibition of new F.N.A.C. acquisitions at Centre National d’Art Conteporain, Grenoble,
illus: “Public Love,” b/w, pp. 119-120
Basualdo, Carlos, and Virginia Perez-Ratton, Mesotica, catalogue essays for exhibition at
Museo de Arte y Diseño Contemporaneo, San José, Costa Rica, illus: “Permanent
Expressions,” color, p. 41
Krause, Manfred, “Meilensteine Im Labyrinth Der Malerei,” Westdeutsche Allgemeine, 23
June, illus: “Infant Wisdom,” “Artistic Painting,” b/w
Wintzenburg, Ludwig, “Kunst Positionen Der Beliebigkeit,” Neue Ruhr Zeitung, 23 June
Luddemann, Stefan, “Malen Als Kühle Artistik,” Neue Osnabrucker Zeitung, 27 June, illus:
“Artistic Painting,” b/w
Krause, Manfred, “Totgesagte Leben Länger,” Westdeutsche Allgemeine, 4 July, illus:
“Artistic Painting,” b/w
Kampmann, Matthias, “An Der Grenze Des Mediums,” Westfalischer Anzeiger, 5 July, illus:
“Artistic Painting,” b/w, p. 6
Willems, Sophia, “Vom Mehrwert Der Malerei Heute,” Westdeutsche Zeitung, 12 July
Struck, Kristina, “Beobachtungen Zur Malerei,” Evangelische Wochenzeitung für Das
Rheinland, 16 July
Müller, Sabine, “Positionen In Der Malerei In Den 90er Jahren,” Kölner Stadt-Anzeiger, 20
July
Jäger, Frans Den Hartog, “Zoeken Naar Waar Verf En Illusie Elkaar Raken,” NRC
Handelsblad, 21 July
Shah, Anita, “Der Maler Und Sein Double,” Frankfurter Allgemeine Zeitung, 25 July
Wolgamott, L. Kent, “Critiques of Pure Abstraction at Sheldon Museum,” Lincoln Journal
Star, 26 November, p. 13H
1996 Paparoni, Demetrio, “Conversation with Jonathan Lasker,” Tema Celeste, Spring, illus: one
untitled drawing, “The Eternal Silence of Infinite Space,” “Swank Sadness,” “Winter
Abstraction,” color, pp. 48-51
Knight, Christopher, “Critiques of Pure Abstraction: Curatorial Concept in Search of an
Enemy,” Los Angeles Times, 11 February
Milazzo, Richard, “L’indifferenziata e inumana ultima cosa,” Tema Celeste, Spring, p. 35
Milazzo, Richard, Joey T. Lamb and R.T. Vullo, “According to What: A Column about Art and
the Kitchen Sink,” Artnet, 16 March, illus: “The Eternal Silence of Infnite Space,” “Moral
Fantasia,” “When Trees Become Flowers,” “Nearly Soul,” color
Servetar, Stuart, “Jonathan Lasker at Sperone Westwater, ” New York Press, 10-16 April, p.
89
Karmel, Pepe, “Jonathan Lasker at Sperone Westwater, ” New York Times, 19 April, p. C22
Unauthored, “Jonathan Lasker at Sperone Westwater,” The New Yorker, 22 April
Juncosa, Enrique, Arthur Danto, and Demetrio Paparoni, Nuevas Abstracciones, catalogue
essays for exhibition at Reina Sofia, 175 pp., illus: “Reverse Society,” “Public Love,” “To
Believe in Food,” color
Benjamin, Andrew, What is Abstraction?, Academy Editions, paperbound, 64 pp., illus:
“Expressions of an Uncertain Universe,” “Infant Wisdom,” “Natural Order”
Briand-Picard, Claude, Christophe Cuzin, Antoine Perrot, “Interview with Jonathan Lasker,”
Peindre?, Positions Press, paperbound, pp. 156
Rivero, Tahia, Ruth Auerbach, Maria Luz Cardenas, Raphael Rubinstein, Fernando Castro
Florez & artists’ statements, Transatlantica, The America Non Representiva, catalogue
essays for exhibition at Museo Alejandro Otero, illus: “Libidinous Prehistory,” color, pp. 60-
61
Le Thorel-Daviot, Pascale, Petit Dictionnaire des Artistes Contemporains, Bordas Press,
paperbound, 287 pp., illus: “The Ecstasy of Logic,” color
Unauthored, Jonathan Lasker, catalogue for 1993 and 1996 exhibitions at Sperone
Westwater, New York, illus: “Sensible Arrangement,” “Winter Abstraction,” “Swank
Sadness,” “Supplemental Reality,” “When Trees Become Flowers,” “Nearly Soul,” “The
Value of Pictures,” “The Outsides Are In,” “Reverse Society,” “Between Theory and
Reality,” “The Pride of Being,” “Moral Fantasia,” color, unpaginated
Greene, David A., “Screen at Friedrich Petzel Gallery,” Art+Text, May, pp. 80-81
Moos, David, Jonathan Lasker, et al., Art & Design No. 48: Painting in the Age of Artificial
Intelligence, paperbound, 92 pp., illus: “The Divergence of Truth and Beauty,” “The
Consciousness of Animals,” “Let Us Become Ultimate,” “Supplemental Reality,” color,
frontispiece, pp. 6, 7, 10-13, 54-63
Clowes, Jody, “Critiques of Pure Abstraction,” Isthmus, 7 June
Adams, Brooks, “The Abstract Century,” Art in America, July, pp. 59-60
Wiese, Heidi, “Schnönheit ist Wieder Eraubt: ‘Abstrakte Malerei Heute’,” Westfälen-Blatt,
26 July
Stiftel, Ralf, “Die Schönheit Kehrt Zurück: Die Kunsthalle Bielefeld,” Westfälischer Anzeiger,
26 July, illus: “To Believe in Food,” b/w
Lüddemann, Stefan, “Kühle Bildstrategien: Abstrakte Malerei Heite,” Neue Osnabrüker
Zeitung, 27 July, illus: “Public Love,” b/w
Strecker, Manfred, “Unbeschweert Malen: ‘Abstrakte Malerei Heute’,” Neue Westfälische
Zeitung, 27 July
Stachelhaus, Heiner, “Die Malerei ist Tot-Es Lebe die Malerei: Bielefeld Zeigt die ‘Neuen
Abstrakten’,” Neue Ruhr Zeitung, 31 July
Osborne, Lawrence, Peter Astrom, The New York Scene 1996, catalogue essays for
exihibition at Gotland Konstmuseum, illus: “Symmetrical Diversion,” color, p. 10
Unauthored, “Abstrakte Malerei Heute-Neuvas Abstracciones,” Bielefeld der Spiegel, 1
August, illus: “To Believe in Food,” b/w, p. 20
Thiede, Veit-Mario, “Alles ist Möglich: Abstrakte Malerei Heute,” Main Echo, 2 August
Müller, Michael-Georg, “Geschüttelte Farben und Grosse Formate: ‘Abstrakte Malerei
Heute’,” Neue Westfälische Rundschau, 2 August
Zimmer, Klaus, “Das Erlebnis der Form ist den Künstlern Wichtig: Künsthalle Bielefeld Zeigt
‘Abstrakte Malerei Heute’,” Cellesche Zeitung, 6 August
Thiede, Veit-Mario, “An Rosa Schokolade Glauben: Eine Ausstellung in Bielefeld,”
Trierischer Volksfreund, 10-11 August
Unauthored, “Die Malerei der Unbegrenzten Mölichkeiten,” Aktuelle Kunst, illus: “Public
Love,” “To Believe in Food,” b/w
Moszynska, Anna, “New York Round-Up,” Untitled, Summer, p. 8
Moos, David, Donna De Salvo, Forces of the Fifties, catalogue essays for exhibition at
Wexner Center, illus: “Expressions of an Uncertain Universe,” b/w, p. 35
Burgi, Bernhard, Playpen & Corpus delirium, catalogue essay for exhibition at Kunsthalle
Zürich, illus: “Rural Geometry,” b/w, pp. 42-43
Godfrey, Tony, Melissa Larner, et al., The 20th Century Artbook, Phaidon Press,
hardbound, 512 pp., illus: “Public Love,” color
Mitchell, W. J. T., R. Feinstein, S. Kaneda, C. Van Schoonbeck, Re: Fab, catalogue essays for
exhibition at University of South Florida, illus: “Chimerical Seasons,” “Medium Exaltation,”
color, pp. 18, 20
Paparoni, Demetrio, “L’astrazione Ridefinita,” Tema Celeste, Autumn, illus: “Rustic Psyche,”
“Digital Affection,” color, pp. 38-39
Danto, Arthur, “The Pure, The Impure and The Non-Pure,” Tema Celeste, Autumn, illus: “To
Believe in Food,” “Public Love,” color, p. 52
Kellein, Thomas, Hans-Michael Herzog, A. Danto, E. Juncosa, Abstrakte Malerei Heute-
Nuevas Abstracciones, catalogue essays for exhibition at Kunsthalle Bielefeld, illus.: “To
Believe in Food,” “Public Love,” color, pp. 22-23
Watkin, Mel, Martin Ball, Reconditioned Abstraction, catalogue essays for exhibition at
Forum for Contemporary Art, St. Louis, 20 pp., illus: “Permanent expressions,” b/w,
“Selective Identity,” color
Silva, Eddie, “Reconditioned Abstraction: The Irony Curtain,” Riverfront Times, 27
November-3 December, p. 1
Duffy, Robert W., “Reconditioned Abstraction: It’s Abstract All Right,” St. Louis Post
Dispatch, 1 December
1997 De Chassey, Eric, Camille Morineau, Abstraction/Abstractions: Géometries Provisoires,
catalogue essays for exhibition at Musée d’Art Moderne, 224 pp., illus: “Animal Progress,”
“Second Nature,” “When Trees Become Flowers,” “The Kissed and the Missed,” color
Polsky, Richard, Art Market Guide: Contemporary American Art, The Marlit Press,
paperbound, 250 pp.
Rubinstein, Rapahel, Peintures Croisées, L’Harmattan Press, paperbound, 186 pp., illus:
“Expressions of an Uncertain Universe,” b/w
Paparoni, Demetrio, “Jonathan Lasker,” Il Corpo Parlante dell’Arte, Castelvecchi, Rome,
Italy, paperbound, illus: “The Picture of Discretion,” color, pp. 100-108
Paparoni, Demetrio, “L’astrazione ridefinita: verso il terzo millennio,” Il Corpo Vedente
dell’Arte Castelvecchi, Rome, Italy, paperbound, illus: “Little Fatty,” color, pp. 48-61
Domino, Christophe, “Abstraction/Abstractions: L’Abstraction Derrière La Grille,” Beaux-
Arts, February, illus: “When Trees Become Flowers,” color, p. 26
Protzman, Ferdinand, “Pushing the Envelope & Drawing on It: NY on Paper,” The
Washington Post, 1 March, illus: untitled drawing, b/w, p. C2
Archer, Michael, Art Since 1960, Thames & Hudson, paperbound, 224 pp.
Georgia, Olivia, Lilli Wei, After the Fall: Aspects of Abstract Painting Since 1970, Vol. 1,
catalogue for group exhibition at Newhouse Center for Contemporary Art, 191 pp., illus:
“Beat the System,” color
Georgia, Olivia, David Carrier, Peggy Cyphers et al., After the Fall: Aspects of Abstract
Painting Since 1970, Vol. 2, catalogue of responses to exhibition at Newhouse Center for
Contemporary Art, 59 pp.
Buci-Glucksman, Christine, “Vers Une Post-Abstraction,” Rue Descartes 16, April, pp. 54-62
Rubinstein, Raphael, “Le Sens Plastique de la Peinture,” Rue Descartes 16, April, pp. 67-71
Millet, Catherine, “Geometries Provisoires,” Art Press, April, illus: “When Trees Become
Flowers,” b/w, pp. 80-82
Cotter, Holland, “An Era Still Driven To Abstraction: Review of ‘After the Fall: Turning the
Corner’,” New York Times, 11 April, p. C24
Danto, Arthur C., Demetrio Paparoni, and Mario Perniola, “Style, Narrative and Post-
History-A Conversation,” Tema Celeste, May-June, pp. 40-47, 106-110
Rey, Stephane, “Jonathan Lasker at Velge et Noirhomme,” L’Echo, 6 June
Rollin, Pierre-Olivier, “La Peinture Selon Jonathan Lasker: Galerie Velge et Noirhomme,” Le
Vif/L’Epress: Weekend, 13 June, illus: 1997 untitled oil study on paper, color, p. 53
Popelier, Bert, “De oppervlakten van Lasker: Jonathan Lasker at Velge Noirhomme,” Tijd
Cultuur, 16 June
Paparoni, Demetrio, “Ein Neues Verstaendnis von Abstraktion,” Noema, June-July, pp. 42-
47
De Chassey, Eric, “Jonathan Lasker at Thaddaeus Ropac: L’Abstrait Hybride,” L’Oeil,
July/August, illus: “For the Eye of the Beautiful beholder,” color, p. 15
Patrick, Keith, “Editorial,” Contemporary Visual Arts, #15, Summer, pp. 13-15
Moszynska, Anna, Peter Schjeldahl, et al., The Age of Modernism: Art in the Twentieth
Century, Hatje Verlag, hardbound, illus: “Artistic Painting,” b/w, p. 217
Dynes, Wayne R., Turning the Corner: Abstraction at the End of the Twentieth Century,
catalogue essay for exhibition at Hunter College, New York, illus: untitled study, b/w
Gourvil, Olivier, Eric de Chassey, Jonathan Lasker, Raphael Rubinstein, et al., Tableau
Territoires Actuels, École Régionale Des Beaux-Arts de Valence, paperbound, 93 pp. illus:
“When Trees Become Flowers,” “Sensible Arrangement,” “Live Life Live,” b/w
Schwabsky, Barry, The Widening Circle: Consequences of Modernism in Contemporary Art,
Cambridge University Press, paperbound, 230 pp.
Buci-Glucksman, Christine, “Une Abstraction Impure: de Marcel Duchamp à la
Cartographie,” Trans #4, pp. 122-130
Ostrow, Saul, Essential Gestures, catalogue essay for exhibition at Johnson County
Community College Gallery of Art, unpaginated, illus: “Stable Aberrance,” color
Slesin, Suzanne, “Frame Work,” Hose and Garden, September, illus: “The Picture of
Discretion,” color, p. 213
Springenschmid, Ingo, Licht Raum . . . Schwarz, catalogue essay for exhibition at
Künstlerhaus Palais Thurn und Taxis, illus: installation view of “Inlet,” “The Trophies,”
“Invective Décor,” color
Muller, Brian, “Abstraction/Abstractions: Géometries Provisoires,” Flash Art, October, p. 77
Schmidt, Jürgen, “Aus der Not Eine Tugend Gemacht,” Westfalen-Blatt, 28 November, illus:
“The Eternal Silence of Infinite Space,” b/w
Morisse, Wolfgang, “Jonathan Lasker in der Kunsthalle: Farbig, Festlich und Humorvoll,”
Die Glocke, 28 November
Britsch, Eckkhard, “Jonathan Lasker at Kunsthalle Bielefeld: Malerei von Eingefrorener
Spontaneitat,” Neue Westfälische Zeitung, 29 November, illus: “For the Eye of the
Beautiful Beholder,” color
Thorson, Alice, “New Realities of Abstraction at Johnson County Community College,” The
Kansas City Star, 30 November, pp. L1, L7
Unauthored, “Jonathan Lasker Gemälde 1977-1997,” Live, 1 December, illus: “Love’s
Rhetoric,” color
Unauthored, “Jonathan Lasker: Abstrakt & Heftig,” Tips, 1 December, illus: “Love’s
Rhetoric,” color
Schmidt, Jürgen, “Jonathan Lasker in der Kunsthalle: Weg Aus der Sackgasse Gefunden,”
Westfalen-Blatt, 1 December, illus: “For the Eye of the Beautiful Beholder,” b/w
Unauthored, “Jonathan Lasker: Gemälde 1977 Bis 1997,” Bielefelder Spiegel, 1 December
App, Volkhard, Redaktion Kulturspiegel, 3 December, nine-minute radio broadcast on
NDR1
Wallmann, Jürgen P., “Mosaik,” Mittwoch, 3 December, one-hour radio broadcast on
WDR3, Cologne, Germany
Lingemann, Susanne, “Mit Bass, Schlagzeug und Gitarre,” Art, December, illus: “It’s A Free
Country,” “Nearly Soul,” “Today’s Universe,” “Simple Painting,” “5 of Spades,” color, pp.
88-91
Hindry, Ann, “Interview with Jonathan Lasker: Painting, Impersonality, Critique,” Art Press,
December, illus: “Believe in Everything,” “Why People Are Nice,” “A Fine Day in the Wrong
Universe,” “The Art of Good Appearance,” “Psychic Governance,” color, pp. 20-25
Fischer, Jim, “New Art on Display at Johnson County Community College: Essential
Gesture,” The Campus Ledger, 4 December, p. 4B
Lettmann, Achim, “Die Linie Wird Zur Fläche: Die Bielefelder Kunsthalle Zeigt Jonathan
Laskers Abstrakte Malerei,” Westfälischer Anzeiger, 4 December, illus: “Formidable
Embodiment,” b/w
Kreis, Elfi, “Jonathan Lasker at Kienzle & Gmeiner: Am Anfang der Endlosschleife,” Der
Tagesspiegel, 6 December, illus: “That It May End,” b/w, p. 28
Hoffmans, Christiane, “Jonathan Laskers Erste Deutsche Einzel-Austellung: Kunsthalle,
Bielefeld,” Die Welt am Sonntag, 7 December, illus: “To Belive in Food,” b/w
Imdahl, Georg, “Ein Gefühlsausbruch findet nicht statt,” Frankfurter Allgemeine Zeitung, 12
December, illus: “Confessions of a Groundhog Fancier,” b/w, p. 44
Unauthored, “Bielefeld: Ölgemalde die Schockieren,” Prisma, 13 December, illus: “Popular
Psyche,” color
1998 Daniel, Jeff, “Reality and Abstraction: Blurring the Lines,” St. Louis Post-Dispatch, 18
January, p. D4
Van de Velde, Paola, “Groot Overzicht Jonathan Lasker in Stedelijk,” De Telegraaf, 11
February, illus: “Simple Painting,” b/w, p. T13
Thorson, Alice, “Art to Art Talk with David Moos,” The Kansas City Star, 12 February, p. F6
Schumacher, Rogier, “Goede Schilderkunst is Altijd Conceptueel: Jonathan Lasker at the
Stedelijk Museum,” Het Patrool, 17 February, illus: “Nature Study,” b/w
Wesseling, Janneke, “Overzicht Van Abstracte Schiderijen in Het Stedelijk Museum: Lasker
Worstelt Met de Gordijnen,” NRC Handelsblad, 25 February, illus: “It’s A Free Country,”
b/w
Van Beek, Willem, “Jonathan Lasker: Eerste Solo-Tentoonstelling in Ons Land,” Kunstbeeld,
March, illus: “Illinois,” “5 of Spades,” “Sensible Arrangement,” color, pp. 22-24
Süto, Wilma, “Lasker Blaast de Schilderkunst Brutaal Nieuw Leven in: Jonathan Lasker at
the Stedelijk Museum,” Volkskrant, 2 March, illus: “Public Love,” b/w
Lütticken, Sven, “Culturele Promiscuïteit: Jonathan Lasker, Het Sacrale en Het Banale,” De
Witte Raaf, March/April, illus: “How To Be,” “The Ecstasy of Logic,” b/w, pp. 22-23
Dank, Ralf, “Kompromisslose Kunst,” St. Gallen Nachrichten, 23 April, p. 45
Unauthored, “Preview: Traveling Exhibitions,” Artforum, May, p. 63
“Kunstmuseum: Jonathan Lasker,” Terzett, May, illus. “Today’s Universe”, “To Believe in
Food,” b/w, p. 13
“Malerei ist meine Sprache,” St. Gallen Tagblatt, 2 May, p. 14Kultur
Mack, Gerhard, “Sprachnot und Perfektion,” Kultur, 4 May, p. 11
“Paintings 1977 bis 1997,” Anzeiger, 5 May
Schaufelberger, Peter E., “Kunst aus dem Selbstbedienungsladen,” Südkurier, 7 May
Mack, Gerhard, “Malen nach dem Zufallsprinzip,” Extra, 8 Mai, p. 69
Mack, Gerhard, “Jonathan Lasker im Kunstmuseum,” Kunst-Bulletin, June, illus. “Today’s
Universe,” color, p. 43
“Nonchalance im Steinbruch der Moderne,” Neue Zürcher Zeitung, 5 June, p. 46
Kliner, Dion, “After the Disasteroid,” Flash Art, Summer, illus. “They Do Not Exclude,” color,
p. 113
Buci-Glucksman, Christine, “Vers une Post-Abstraction,” Parachute, July-August-
September, illus: “Assertive Existence,” b/w, p. 47
Unauthored, “Sperone Westwater: Summer Group Exhibition,” New York Contemporary
Art Report, June, illus: “Exclusive Existence,” color, p. 81
Kaeppelin, Olivier, Michel Bulteau, Jonathan Lasker, essays and interview for solo
exhibition at the ART C. association art contemporain, Ville d’Issoire, paperbound, 88 pp.,
illus: 30 paitings, color
Arnold, Genevieve, Connections and Contradictions: Modern and Contemporary Art from
Atlanta Collections, catalogue for exhibition at the Michael C. Carlos Museum, Emory
University, illus: “The Aesthetics of Argument,” b/w, p. 6
Gilbert, David, “Interior Design’s Guide to Fall in New York,” Interior Design, September,
illus: “Lives of Perpetual Wonder,” color, p. 56
Bourbon, Matthew, “Sperone Westwater,” New York Arts Magazine, 25 October, illus.:
“Lives of Pepetual Wonder,” b/w, p. 47
Hinson, Tom E., Cleveland Collects Contemporary Art, catalogue for exhibition at the
Cleveland Museum of Art, Cleveland, OH, 1998, paperback, illus: “False Transcendence,”
color, p.117
Power, Kevin, Jonathan Lasker, essay for solo exhibition at Soledad Lorenzo Gallery,
paperbound, 43 pp., illus: “Precise Love,” “Modern Weeping,” “If Pebbles Were Boulders,”
“A History of Common Moments,” “Things Have Reason,” ” Were 8 On This Side,”
“Competitive Exclusion,” color, pp. 16-28, four untitled drawings, b/w, pp. 26-27
Polzer, Brita, “Kunst: Avantgarde-Mode/Kinder-museum/Jonathan Lasker,” Mirabelle, no.
11 [November?], p. 10
1999 Jones, Alan, “Giuseppe Capogrossi,” Tema Celeste, January-February 1999, illus.: “Between
Theory and Reality,” p. 86
Auping, Michael, David Moos, Jonathan Lasker: Selective Identity Paintings from the
1990’s, catalogue essays for solo retrospective exhibition at The Forum for Contemporary
Art, St. Louis, MO; The Power Plant, Toronto, Canada; Rose Art Museum, Brandeis
University, MA; Birmingham Museum of Art, AL, published by Birmingham Museum of Art,
103 pp., illus.: 22 paintings, 13 oil paintings, color
Siegal, Katy, “Jonathan Lasker: Selective Identity,” ArtForum, Vol. XXXVIII, No. 1,
September 1999, p. 40
Bois, Yve-Alain, Enrique Juncosa, Rosalind Krauss, et al., Abstraction, Gesture, Ecriture;
paintings from the Daros Collection, Edited by Peter Fischer, 1999, Alesco AG, pp. 134-142
Daniel, Jeff, ” Osver and Lasker are contemporary companions,” St. Louis Post-Dispatch,
October 10, 1999, p. 6
Silva, Eddie, “Still Life,” The Riverfront Times, October 13-19, 1999, p. 56
Zimmer, Mallarie N.,”Selective Identity,” Intermission Visual Art, October 1999, p.19
“Jonathan Lasker,” The New Yorker, 8 November, 1999, p. 18
Ebony, Dabid, ” David Ebony’s Top Ten; Jonathan Lasker at Sperone Westwater,”
Artnet.com, 27 November 1999
2000 Edelman, Robert G., “Abstract New York,” Artnet.com, 11 November 1999
Thorson, Alice, “Eye of the collector,” The Kansas City Star, October 1999, pp. 1-3.
“Lasker’s long reach,” The Art Newspaper, Vol. X, No. 97, November 1999, p. 70
Daniel, Jeff, “Jonathan Lasker; Forum for Contemporary Art,” ARTnews, Vol. 98, no. 11,
December 1999, p.176
Moszynska, Anna,”Jackson Pollock; Revisited,” contemporary visual arts, issue 22,1999,
pp.46-53
Thorson, Alice,” Driven to Abstraction,” The Kansas City Star, 16 January, 2000, pp. J1, J4.
Kastner, Jeffrey, “Jonathan Lasker; Sperone Westwater,” Artnews, Vol 99, No. 2, February
2000,p. 163
Gofrey, Tony, “Jonathan Lasker: the dialectics of touch,” contemporary visual arts, issue
28,pp.22-27
Arte Americana; Ultimo Decennio, exhibition catalogue, 2000, Museo d’Arte della
Citta di Ravenna/Edizioni Gabriele Mazzotta, p. 79 & 80
“Jonathan Lasker,” Tema Celeste retrospective, excerpt from “Codici di gestualità,
Jonathan
Lasker,” conversazione con Demetrio Paparoni, January 1990, Summer 2000, p. 151
Schwabsky, Barry, “Jonathan Lasker,” Artforum, September 2000, p. 175
Bonetti, David, “Gallery Watch,” San Francisco Examiner, October 12, 2000, C-11
Baker, Kenneth, “Odd Abstractions,” San Francisco Chronicle, 28 October 2000, p. D2
Gian Enzo Sperone; Torino, Roma, New York; 35 Anni di Mostra tra Europa e America,
2000, p. 370, 402-403, 456
da Warhol al 2000, Palazzo Cavour, Regione Piemonte, exhibition catalogue, 2000, p. 73
2001 Smolik, Noemi, “Stories from the Dictionary of Modernism,” American Art from the Goetz
Collection, Munich, Galerie Rudolfinum, Prague, The Centre of Contemporary Art,
exhibition catalogue, 24 May – 2 September 2001, pp. 42-45
“Green on Greene,” exhibition catalogue, Sperone Westwater, New York, 2001.
Yablonsky, Linda, “Green on Greene,” Time Out New York, 22-29 November 2001, p. 58.
Ryan, David, “Visible Thoughts, An Interview with Jonathan Lasker,” Art Papers Magazine,
September – October 2001, pp. 28-33.
2002 “Paparoni, Demetrio, Lasker, Paintings 1977-2001,” Alberico Cetti Serbelloni Editore, 2002.
“Drawn From a Family,” exhibition catalogue, Colby College Museum of Art, Maine, 2002.
2003 “Thick and Thin,” discussion with Lasker, Dunham, Federle, Griffin, Koether, Prietò, Relyea,
Winters and Yuskavage, introduced by Robert Storr, Artforum, April 2003, pp. 174-179,
238.
Siegel, Katy, “Jonathan Lasker, Palacio Velázquez, Reina Sofia,” Artforum, May 2003, pg.
69.
“Jonathan Lasker: 1977-2003: Pinturas, Dibujos, Estudios,” exh. cat., Museo Nacional
Centro de Arte Reina Sofía, 5 June – 7 September, 2003.
PUBLICATIONS BY THE ARTIST
1981 Cave Pictures. A book of drawings by Jonathan Lasker and poetry by Everett Potter.
Published by the Kaldewey Press, Düsseldorf, Germany
1986 Untitled essay. Effects Magazine, winter issue
After Abstraction. Published in What It Is, catalogue for exhibition at Tony Shafrazi Gallery
1987 Abstraction After Itself. Essay published in Corcoran Gallery of Art Biennial catalogue
Falling In Lava. Essay published in Eugene Leroy, catalogue for exhibition at Musée d’Art
Moderne Villeneuve d’Asco
1988 Racing Form. Essay published in Journal of Contemporary Art, volume 1/number 2
1989 Not A First. A book of drawings by Jonathan Lasker and poetry by John Ashbery. Published
by the Kaldewey Press, Poestenkill, NY
1991 Pariahs. Essay published in An Anthology of Statements: White Columns, Collins & Milazzo,
Editors
1994 Willelm De Kooning: Paintings for the Living. Published in Jong Holland, issue #1/94
Beauty in the Age of Roadkill. Published in 99, Turn of the Century Magazine, fall issue
1995 Plastic Made Perfect: Measuring Mondrian: New Math. Published in Artforum, September
1996 Sleep and Poetry: The Consciousness of Animals. Essay published in Art & Design no. 48:
Painting in the Age of Artificial Intelligence
1998 Jonathan Lasker: Complete Essays, 1984-1998. Published by Edgewise Press, New York,
Paris, Turin, paperbound, 62 pp.
1999 Essays, 1984-1998. Essays published in Likovne Besede Artwords, no. 47-48, Mai1999,
Slovenia, pp. 57-69, 86-87.
SELECTED PUBLIC COLLECTIONS
Albright-Knox Art Gallery, Buffalo, NY
Birmingham Museum of Art,Birmingham, AL
The British Library, London, England
Casino Luxembourg, Forum for Contemporary Art, Luxembourg
The Corcoran Gallery of Art, Washington, D.C.
De Peter Stuyvesant Stichting, Amsterdam
Eli Broad Foundation, Los Angeles, CA
Fond National d’Art Contemporain, Paris, France
Los Angeles County Museum of Art, Los Angeles, CA
La Fondación Caja de Pensiones, Madrid
High Museum, Atlanta, GA
Hirshhorn Museum & Sculpture Garden, Washington, D.C.
MIT-List Center for the Visual Arts, Cambridge, MA
Moderna Museet, Stockholm, Sweden
Museo de Arte Contemporaneo, Seville, Spain
Museum Ludwig, Cologne, Germany
New York Public Library, New York
Wacoal Art Center, Tokyo, Japan
Whitney Museum of American Art, New York
Wichita Art Museum, Wichita, KS
Biography
Selected Solo Exhibitions
2021
- Jonathan Lasker: Born Yesterday: Drawing into Painting, 1987-2020, Greene Naftali, New York, Chelsea, New York, USA
2019
- Jonathan Lasker: Recent Paintings, Galerie Thomas Schulte, Mitte, Berlin, Germany
2018
- Jonathan Lasker: Recent Paintings, Maruani Mercier, Brussels, Brussels, Belgium
2016
- Jonathan Lasker, Cheim & Read (25th St), Upper East Side, New York, USA
2012
- Jonathan Lasker, Galerie Thomas Schulte, Mitte, Berlin, Germany
- Jonathan Lasker, Cheim & Read (25th St), Upper East Side, New York, USA
- Jonathan Lasker: The 80’s, Lars Bohman Gallery, Karlavägen, Stockholm, Sweden
2011
- Jonathan Lasker: The 80s, Timothy Taylor, London, London, UK
2008
- JONATHAN LASKER, Galerie Thomas Schulte, Mitte, Berlin, Germany
Selected Group Exhibitions
2021
- If Tomorrow Comes, BravinLee Programs, Chelsea, New York, USA
- The Poet-Engineers. Or how to deploy an artwork’s truth procedure to contemplate its real effects, Miguel Abreu Gallery, Eldridge Street, New York, USA
- The Poet-Engineers. Or how to deploy an artwork’s truth procedure to contemplate its real effects, Miguel Abreu Gallery, Orchard Street, Lower East Side, New York, USA
- The Phoenix and the Mountain: In-centric Abstraction in the 80s, Galerie Zürcher, New York, Greenwich Village, New York, USA
- Sourire Etroit de L’amitié, Knust Kunz, Munich (Theresienstrasse), Munich, Germany
2020
- Charity, Thaddaeus Ropac, Salzburg (Villa Kast), Salzburg, Austria
- Painting the Essential: New York 1980 – Present, Timothy Taylor, New York, Chelsea, New York, USA
- Pas De Deux: Part I, Knust Kunz, Munich (Ludwigstrasse), Munich, Germany
2019
- The Unusual Suspects: A View of Abstraction, DC Moore Gallery, Chelsea, New York, USA
2018
- Shaping color, L.A. Louver Galleries, Venice, Los Angeles, California, USA
- Paintings from the 1980s and 1990s, Mudam Luxembourg, Musée d’Art Moderne Grand-Duc Jean, Luxembourg
- The Matter in Harmony, Galerie Thomas Schulte, Mitte, Berlin, Germany
- Colorful: Wonderful, Galerie Terminus, Munich, Germany
- Group Exhibition: New Editions, Knust Kunz, Munich (Ludwigstrasse), Munich, Germany
2017
- Kienzle Collection, Kunstmuseum Liechtenstein, Vaduz, Liechtenstein
- Looks, Galeria Miguel Marcos, Barcelona, Spain
- New York 1980s: Part I, Adam Baumgold Fine Art, Upper East Side, New York, USA
- ARTICULATE, Silas von Morisse Gallery, Brooklyn, New York, USA
- Think- Paint, Unix Gallery, New York (26th Street), Chelsea, New York, USA
2016
- Prints: From 1970 to 2015, Galerie Klüser 2, Munich, Germany
- ABC/123, Steven Zevitas Gallery, Boston, Massachusetts, USA
- Escape Gravity, Felix Ringel Galerie, Düsseldorf, Germany
- Affinities, Galeria Miguel Marcos, Barcelona, Spain
- Strange Abstraction, Fredericks & Freiser, Chelsea, New York, USA
2015
- Rio, Office Baroque, Place du Jardin aux Fleurs, Brussels, Belgium
- The Broad Gift, Eli & Edythe Broad Art Museum at Michigan State University, East Lansing, Michigan, USA
- A Collector’s Legacy: Highlights from The Francien C. Ruwitch and the Ruwitch Family Collections, Lowe Art Museum, University of Miami, Coral Gables, Miami, Florida, USA
- Post-Analog Painting, The Hole, 312 St., Soho, New York, USA
2014
- Teach Us To Outgrow Our Madness, Galerie Thomas Schulte, Mitte, Berlin, Germany
- Lasker & Schoolwerth : Dense Fictions, Galería Marta Cervera, Madrid, Spain
- Slow Learner, Timothy Taylor, London, London, UK
- Group Show, L.A. Louver Galleries, Venice, Los Angeles, California, USA
- Taking a Line for a Walk, Zentrum Paul Klee, Bern, Switzerland
- Pop Abstraction, Garth Greenan Gallery, Chelsea, New York, USA
- Pop Abstraction: Group Show, Fredericks & Freiser, Chelsea, New York, USA
2013
- Exposición 93, CGAC, Centro Galego de Arte Contemporánea, Santiago De Compostela, Spain
- Painting’101, Allegra LaViola Gallery, Lower East Side, New York, USA
- Promenades d’Amateurs, Nouveau Musée National de Monaco, Villa Paloma, Monte-carlo, Monaco
- Reinventing Abstraction, Cheim & Read (25th St), Upper East Side, New York, USA
- Thought – Group Show, Galerie Thomas Schulte, Mitte, Berlin, Germany
- Wit, The Painting Center, Soho, New York, USA
2011
- The Bewildered Image: American Painters From The 1980’s, Patricia Low Contemporary, Gstaad, Gstaad, Switzerland
- 1991… (Memorial Promenade), Galerie Thomas Schulte, Mitte, Berlin, Germany
- Currents in Contemporary Art: Process and Materials, Orlando Museum of Art, Orlando, Florida, USA
2010
- Le Tableau, Cheim & Read (25th St), Upper East Side, New York, USA
2008
- Name Dropping, Mitterrand & Cramer, Geneva, Switzerland
- Works On Paper Chris Martin, Thomas Nozkowski, Jonathan Lasker, James Siena, BravinLee Programs, Chelsea, New York, USA
- Group Show: Jonathan Lasker, Chris Martin, Tom Nozkowski, and James Siena, BravinLee Programs, Chelsea, New York, USA