Komar & Melamid: Selected Group Exhibition Catalogs and Books

Adcock, Craig. Nocturnes and Nightmares. Tallahassee, FL: Florida State University Gallery and Museum, 1987.

After Perestroika. Sydney, Australia: Irving Galleries, 1991.

After Perestroika: Kitchenmaids or Stateswomen. Essays by Margarita Tupitsyn and Martha Rosler. New York, NY: Independent Curators Incorporated, 1993.

Art against Aids. New York, NY: American Foundation for AIDS Research, 1987.

Art of Advocacy. Ridgefield, CT: Aldrich Museum of Contemporary Art, 1991.

Artists for Artists. New York, NY: Charles Cowles Gallery, 1986.

Atkins, Robert. Art Speak: A Guide to Contemporary Ideas, Movements, and Buzzwords. New York, NY: Abbeville Publishers, 1990.

Beal, Graham J. Second Sight: Biennial IV. San Francisco, CA: San Francisco Museum of Modern Art, 1986.

Between Spring and Summer. Soviet Conceptual Art in the Era of Late Communism. Tacoma, WA: Tacoma Art Museum; Boston, MA: Institute of Contemporary Art, 1990.

Black Lights. Amsterdam, The Netherlands: The Stedelijk Museum, 1991.

Blanchette, Manon. Resistance or Submission. Banff, Canada: Walter Phillips Gallery, 1986.

Blau, Douglas. Fictions. New York, NY: Curt Marcus Gallery, Kent Fine Art, 1987.

Bohnen, Ulrich. Hommage/Demontage. Aachen, West Germany: Neue Gallery, Museum Ludwig, 1988.

Bradley, Laurel. Tragic and Timeless Today. Chicago, IL: Gallery 400, University of Illinois at Chicago, 1987.

Brossard, JeanPierre. Workshops Furmanny Lane. Zurich, Switzerland: Editiond d'En Haut, 1990.

Classical Myth and Imagery in Contemporary Art. Essay by Barbara Matilsky. Queens, NY: Queens Museum, 1988.

Committed to Print. New York, NY: The Museum of Modern Art, 1988.

Contemporary Perspectives. Essays by Barry Blinderman, Thomas Lawson, Susan Morgan. Lewisburg, PA: Bucknell University, 1984.

Contemporaly SovietArt: The Will to Self Expression in a Conformist Society. Kennesaw Gallery of Art, 1987.

Content: A Contemporaly Focus 1974-1984. Washington, D.C.: Hirshhorn Museum and Sculpture Garden, Smithsonian Institution, 1984.

Danoff, Michael. The Marshall Frankel Collection 1928-86. Chicago, IL: Museum of Contemporary Art, 1988.

Davis, Jack. Symbolic Narrative. Glenside, PA: Beaver College, 1987.

Devil on the Stairs: Looking Back on the Eighties. Philadelphia, PA: Institute of Contemporary Art, 1991.

Documenta 8 Kassel 1987. Kassel, West Germany: Documenta 8, 1987.

Dodge, Norton and Hilton, Alison. NewArtfrom the Soviet Union: The Known and Unknown. Washington, D.C.: Acropolis Books Ltd., 1977.

Dodge, Norton and Edith Tonelli. Nonconformists: Contemporary Works on Paper from the Soviet Union. Rockville, MD: University of Maryland, 1980.

Doria, Charles. Russian Samizdat Art. New York,NY: Willis Locker & Owens Publishing, 1986.

Drier, Deborah. Neo Neo Classicism. Annandale-on-Hudson, NY: Edith C. Blum Art Institute at Bard College, 1986.

EIDIA, Paul and Melissa. The Starving Artists' Cookbook. New York, NY: EIDIA (Idea) Books, 1991, p. 13.

Feinstein, Roni. Contemporary Diptychs: Divided Visions. Fairfield County, CT: Whitney Museum of American Art, 1987.

Flomenhaft, Eleanor. Written Imagery Unleashed in the Twentieth Century. Hempstead, N.Y.: Fine Arts Museum of Long Island, 1983.

Fox, Howard. AvantGarde in the Eighties. Los Angeles, CA: Los Angeles County Museum of Art, 1986.

From Chaos to Creation: Russian Art 1972-1992, Rye, NY: The Rye Arts Center, 1993.

Freeman,Susan. Public Art Fund,lnc. 1985-86. New York, NY: Public Art Fund,1986.

Fuller, Gregory. Kitsch Art. Cologne, Germany: Dumont, Buchverlag Koln, 1992, pp. 151, 174.

Gardner, James. Culture or Trash? New York, NY: Carol Publishing Group, 1993, p. 10.

Goheen, Craig. Literature and Language. Evanston, IL: McDougal, Littel and Co., 1991.

Gyorgy, Peter and Hedvig Turai. Art and Society in the Age of Stalin. Budapest, Hungary: Corvina Books, 1992.

Hansford, Pamela. BARBERism. Sydney, Australia: Museum of Contemporary Art, 1993.

Heiferman, Marvin (with Lisa Phillips and John Hanhardt). Image World: Art and Media Culture. New York, NY: The Whitney Museum, 1989.

Hunter,Sam. Object, Symbol & Allegory: Changing Perspectives in Contemporary Representation. New York, NY: Marlborough Gallery, 1988.

Ingberman, Jeanette. Face to Face. New York, NY: Alternative Museum, 1982.

_____. Illegal America. New York, NY: Franklin Furnace, 1982.

In Out of the Cold. San Francisco, CA: Center for the Arts at Yerba Beuna Gardens, 1993.

In the USSR and Beyond. Essays by Wim Beeren and Jan Hein Sassen. Amsterdam, The Netherlands: The Stedlijk Museum, 1990.

Jacobs, Joseph. Contemporary Perspectives 1984. Lewisburg, PA: Bucknell University; WilkesBarre, PA: Sordoni Art Gallery,1984.

Jencks, Charles. Post Modemism: The New Classicism in Art and Architecture. New York, NY: Rizoli, 1987.

Jewish Themes/ContemporaryAmerican Artists. New York, NY: Jewish Museum, 1982.

Jones, Ronald. Public Art: A Blunt lnstrument. Atlanta, GA: Nexus Contemporary Art Center, 1985.

Martin, Jean Hubert. Alles und noch viel Mehr. Bern, Switzerland: Kunsthalle, 1985.

Martin, Richard and Harold Koda. The Historical Mode, Fashion and Art in the 1980s. New York, NY: Rizoli, 1989.

McCabe, Cynthia Jaffee. Artistic Collaboration in the 20th Century. Washington, D.C.: Hirshhorn Museum and Sculpture Garden, Smithsonian Institution, 1984.

McShine, Kynaston. An International Survey of Recent Painting and Sculpture. New York, NY: Museum of Modern Art, 1984.

Metzger,Robert. The Classic Tradition in Recen Painting and Sculpture. Ridgefield, CT: Aldrich Museum of Contemporary Art, 1985.

_____. Reagan: American lcon. Lewisburg,PA: Bucknell University, 1989.

Morgan, Robert. "The Delta of Modernism." In Re Dact: An Anthology of Art Criticism. Edited by Peter Frank. New York, NY: Willis Lockes & Owens Publishing, 1984.

_____. Disappearances. New York,NY: Nahan Contemporary, 1989.

Moufarrege, Nicholas A. Correspondences: New York Art Now. Tokyo, Japan: Tsurimoto Room Co.,1985.

Naef, Weston J. Counterparts and Affinities. New York, NY: Metropolitan Museum of Art, 1982.

New Jersey Arts Annual. Newark, NJ: The Newark Museum, 1993.

1988: The World of Art Today. Milwaukee, WI: Milwaukee Art Museum, 1988.

Not For Sale. Tel Aviv, Israel: Tel Aviv Museum of Art, 1992.

Novostroika, ICA Documents 8. Edited by Lisa Appignanesi. Essays by John Berger, Dimitri Prigov, Jamey Gambrell. London, England: ICA, 1989.

Post Utopia: Paintings and Installations by the Soviet Conceptualists. North Dartmouth, MA: College of Visual and Performing Arts, 1989.

Public Art in the Bronx. Bronx, NY: Lehman College Art Gallery, 1993.

Relyea, Lane. Remembrances of Things Past. Long Beach, CA: Long Beach Museum of Art, 1986.

Russische Avantgarde im 20.Jahrhundert. Essays by Marc Scheps, Evelyn Weiss, Noemi Smolik, Stephan Diederich and Gerard A. Goodrow. Cologne, Germany, Museum Ludwig, 1993.

Self Portraits. Essay by Peter Frank. Seattle, WA: Linda Farris Gallery, 1988.

Self-Portraits: The Message, The Material. Essay by Carolee Thea. Saratoga Springs, NY: Skidmore College, 1987.

Sokolowski, Thomas and Thomas Styron. Reallegory. Norfolk, VA: Chrysler Museum, 1983.

Sots Art Russian Mock Heroic Style. Essay by Margarita Tupitsyn. New York, NY: Semaphore Gallery, 1984.

Soviet ContemporaryArt: From Thaw to Perestroika. Tokyo, Japan: Setagaya Museum, 1991.

Stalin's Choice: Soviet Socialist Realism 1932-1956. New York, NY: The Institute for Contemporary Art, P.S.1 Museum.

Stendhal Syndrome: The Cure. New York: Andrea Rosen Gallery, 1990.

Storytelling: Narrative Painting. Essay by Mary Wikliffe. Summit, NJ: New Jersey Center for Visual Arts,1988.

Styron, Thomas. Innocence and Experience. Greenville, SC: Greenville County Museum of Art, 1985.

The American Experience: Contemporary Immigrant Artists. New York, NY: Balch Institute for Ethnic Studies and Independent Curators, Inc.,

The Play of the Unmentionable, an Installation by Joseph Kosuth at the Brooklyn Museum. Essay by David Freedberg. New York, NY: The New Press and the Brooklyn Museum, 1992.

Thirty Years, Art in The Present Tense, The Aldrich's Curatorial History. Essay by Brendan Gill. Ridgefield, CT: The Aldrich Museum of Contemporary Art, 1993.

Team Spirit. Essays by James Hillman, Iris Rogoff, Susan Sollins and Nirla Castelli Sundell. New York, NY: Independent Curators Incorporated,1990.

The Death or Resurrection of Originality. Sydney, Australia: Sydney Biennale, 1986.

The Decade Show: Frameworks of Identities in the 1980's. New York, NY: Museum of Contemporary Hispanic Art, 1990.

The Destroyed Print. Essay by Kay Larson. New York, NY: Pratt Institute, 1982.

The 1984 Show. Edited by Sean Elwood. Introduction by Carrie Rickey. Preface by Ronald Feldman. New York, NY: Ronald Feldman Fine Arts, Inc./Village Voice, 1984.

Tupitsyn, Margarita. Sots Art. New York, NY: New Museum of Contemporary Art, 1986.

25 Years A Retrospective. Essays by Ellen G. Landau and Marjorie and Anselm Talalay. Cleveland, OH: Cleveland Center for Contemporary Art,1993.

Van Kempen, Wink. Perfo 2, Performance Festival (catalogue and record). Rotterdam, The Netherlands,1984.

Waldman, Diane. Fifty Years of Collecting: An Anniversary Selection. New York, NY: Solomon R. Guggenheim Museum, 1987.

Weiermair, Peter. Mnemosyne Oder Das Theater Der Erinnerung. West Germany: Kultusministeriums des Landes Rheinlandpfalz, 1988. Prospect 86. Frankfurt, West Germany: Frankfurter Kunstverein, 1986.

Wein,JoAnn. Politics in Art. Bayside, NY: Queensborough Community College, 1984.

Wickliffe,Mary. Storytelling: Narrative Painting. Summit, NJ: Center for Visual Arts, 1988.

Wollen, Peter. "Morbid Symptoms: Komar & Melamid." Raiding the Icebox: Reflections on Twentieth Century Culture. London, England: Verso, 1993, pp.176-189.

Zeitlin, Marilyn A. Messages: Words and Images. Reading, PA: Freedman Gallery, Albright College, 1981.

Most Wanted Paintings Homepage   |   Dia Center for the Arts Homepage