selected articles and interviews [download pdf]
Adina Popescu, "Warren Neidich," Artforum, Summer 2008.
Maurizio Bortolotti, "Art and Resistance," Domus, December 2006.
Johanna Drucker, Sweet Dreams: Contemporary Art and Complicity, University of Chicago Press, 2005, 186-197.
Hans Ulrich Obrist, "Warren Neidich," Spot Magazine of the Houston Center of Photography, Spring 2005.
Barry Schwabsky, Introduction, Warren Neidich: Earthling, Pointed Leaf Press, 2005.
Interview with Charles Gere, Summer 2004.
Norman Bryson, "The Neural Interface," Blow-up: Photography, Cinema and the Brain, D.A.P. and the University of California, Riverside California, 2003.
Christiane Meixner, "Kopfkino im Palmenhaim," Berliner Morgenspot, December 2003.
Sarah Valdez, "Warren Neidich at the Laguna Art Museum," Art in America, February 2002.
Regine Basha, "Performing Observations; Recent Work by Warren Neidich,” Performance Arts Journal, Spring, 1999.
Cathy Lebowitz, "Warren Neidich at Steffany Martz,” Art in America, April 1998.
David Joselit, "Framing History - Some Recent work by Warren Neidich," Historical Intervention, M.I.T. List Center (catalogue), Cambridge, Massachusetts, 1991.
John Welchman, "Turning Japanese,” Artforum, April 1989.
Christopher Phillips, "Necessary Fictions: Warren Neidich's Early-American Cover-Ups," American History Reinvented, Aperture, New York, 1989.
complete list
Thea Harold, “In der Werkstatt,”
Tagesspiegel, Berlin, May 10, 2008.
Christiane Meixner, “Zeigen, was man hat,”
Tagesspiegel, Berlin, May 3, 2008.
Alix Rule, “Round-Up: Best Shows in Berlin this Month,”
Saatchi Online, April 5, 2008.
Elena Bajo, "Remains of Tomorrow,”
Artscene Journal #7, London, Milan, Zürich, 2007.
Aaron Moulton,
Multitasking – Synchronität als kulturelle Praxis, exhibition catalogue, NGBK, 2007, 66-69.
Mark Ginsbourne,
My Vision – Ideen für die Welt von morgen, exhibition catalogue, 2006.
Maurizio Bortolotti, “Art and Resistance,"
Domus, December 2006.
“Young Collector Stefan Levine: Gas Man”,
Art/Basel/Miami Beach Magazine, December 2006.
Bice Curiger,
Expanded Eye, exhibition catalogue, Kunsthaus Graz, 2006.
The Body in Architecture, ed. Deborah Hauptmann, 010 Publishers, 2006.
“Around the Town,”
The New Yorker, September 19, 2005.
Johanna Drucker,
Sweet Dreams: Contemporary Art and Complicity, University of Chicago Press, 2005, 186-197.
Hans Ulrich Obrist, “Warren Neidich,”
Spot Magazine of the Houston Center of Photography, Spring 2005.
Wolfgang Fetz and Peter Lewis,
Go-Between, exhibition catalogue, Magazin 4 and Bregenzer Kunstverein, 2005, 166-174.
Val Williams, "Photos, Histories, Absurdities,"
Photoworks, Spring/Summer 2005, 42-47.
Anne Ellegood, "Silent Happenings",
Public Execution, exhibition catalogue, Exit Art, 2004.
Jose Jimenez, "Madrid Abierto y Cerrado (Madrid Abierto is Closed),”
El Culltural-El Mundo-Arte Spain, February 12, 2004, 42-44.
Cote Villar, “La Provocacion esta en la Calle (The Provocation is on the Street),”
El Mundo Spain, February 6, 2004, 1.
Manuela Villa, "El arte urbano esta de Moda (Arco goes outside of the Pavilions),”
El Pais de Las Tentaciones Spain Arco se sale, February 6, 2004, 24-25.
Miguel Gener, “Arte Contra el Ruido (Art Against Noise),”
Photo of Silent El Pais Spain, February 12, 2004.
Susan Hidalgo, “Madrid Abierto Trae a la Capital Nueve Propuestas de Arte Callejero (Madrid Abierto Brings to the Capital Nine Urban Art Proposals),”
El Pais Spain, February 6, 2004, 10.
“Move On Spain Do it yourself Map,”
Neo 2, February/March, 2004, 65-68.
Manuela Villa, “Madrid Arte Electronico (Madrid Electronic Art),”
El Pais de Las Tentaciones Spain, October 24, 2003.
Miyake Akiko and Hans Ulrich Obrist,
Bridge the Gap?, program book, Center for Contemporary Art Kitakyusha, 2003.
Christiane Paul,
Digital Art, Thames and Hudson, New York, 2003.
Sarah Valdez, "Warren Neidich at the Laguna Art Museum,”
Art in America, February 2002.
Adrian Dannatt, “Brainy,”
The Art Newspaper, No.128. September 2002, 26-27.
Carlos Brillembourg, “Mirror, Mirror on the Wall,”
Storefront for Art and Architecture, September 14, 2002.
Sylvie Fortin,
Optical Verve, exhibition catalogue, Ottawa Art Gallery, 2002.
Lisa Boone, “Photographs and Distortion,”
Los Angeles Times, November 7, 2002.
Ingebourg Ruthe, "Poelzig und die Kunstvitrine,”
Berliner Zeitung, February 2002.
Petra Welzel, “Augen auf und durch,”
die tageszeitung, February 26, 2002.
Larry Rinder, “Art in the Digital Age”,
BitStreams, exhibition catalogue, Whitney Museum of Art, March 2001.
Vivian Letran, “The Natural and the Unnatural,”
Los Angeles Times, July 27, 2001.
Denise Carvalo, “Bitstreams,”
Flash Art, May-June 2001.
Jeanette Zwingenberger, “FIAC,”
Art das Kunstmagazin, December 2001.
Alexander Metreaux, “Das Kunsthirn Kluge Kopfe, schone Bilder: “Artbrain” kennt den Zusammenhang,”
Suddeutsche Zeitung, Nr. 158, July 2001, 15.
Christiane Paul, “Hotlist, Artbrain, www.artbrain.org,”
Artforum, October 2001.
Henri-Francois Debailleux, “Fiac, la video au premier plan,”
Liberation, October 2001.
Florent Albrect, “Les galeries a voir absolument,”
Beaux Arts, October 2001.
Robert Mahoney, “Millennium at Tate,”
Time Out, No. 201, July 11–July 17, 2001, 52.
Norman Bryson, “Summer 1999 at Tate”, essay for exhibition at Tate Gallery, New York City, July 1999, 4-5.
Regine Basha, “Performing Observations; Recent Work by Warren Neidich,”
Performance Arts Journal, Spring 1999.
Sue Spaid, “Seeing Eye, Conceptual Art as a Neurobiological Praxis,”
Village Voice, April 27, 1999.
Roberta Smith, “Conceptual Art: Over and Yet Everywhere,”
The New York Times: Arts and Leisure, April 25, 1999, 1.
“Critics Pick; Alternative, Alternative,”
Time Out, April 2-9, 1999.
“Critics Pick; Conceptual Art as a Neurobiological Praxis,”
Time Out, March 25-April 1, 1999.
Peter Rostovsky, “Recognition: Steffany Martz Gallery,”
Zingmagazine, No. 224, December 1998.
“’On the Road Again’ Jack Kerouac, Photographs by Warren Neidich,”
The New Yorker, June 22–29, 1998.
Edith Newhall, “Art Feature,”
New York Magazine, April 28, 1998.
Cathy Lebowitz, “Warren Neidich at Steffany Martz,”
Art in America, April 1998.
Nancy Princethal, “In the Flow at Franklin Furnace,”
Art in America, October 1997.
Graham Clark,
Oxford History of Art: The Photograph, Oxford University Press, Oxford, England, 1997.
Vik Muniz and Luc Sante,
Making It Real, exhibition catalogue, Independent Curators International,
New York, 1997.
David Britton, “Mythical America: Warren Neidich Retraces Jack Kerouac’s Footsteps,”
Creative Camera, Issue No. 343, December/January 1997.
Robert Sobieszek,
Ports of Entry: William S. Burroughs and the Arts, exhibition catalogue, Los Angeles Museum of Art, 1996.
Hubertus von Amelunxen,
Photography after Photography: Memory and Representation in the Digital Age, Grand Barts, 1996.
“Photography after Photography,”
Frieze, May 1996, 69.
Robert Mahoney,
“Warren Neidich, Pollock Holding a Crow with Alchemy,” Time Out, Issue 44, 1996.
Kim Levin, “Art Choices”,
Village Voice, July 9-16, 1996.
Kim Levin, “Art Short List; Sweat”,
Village Voice, July 16, 1996, 9.
Susan Kandel, “Slight of Hand,”
Los Angeles Times, June 9, 1994.
“Unknown Artist,”
Kunstforum, No. 124, December 1993.
Ulrich Clewing, “Wink mit dem Zaunpfahl,”
Zitty, October 1993.
Harald Fricke, “Wieder aus der Natur Schoepfen”,
Die Tageszeitung, June 1993.
Harald Fricke, “Richtige Form, Richtige Farbe, im Richtigen Movement,”
Die Tageszeitung, June 1993.
Gisela Sonnenburg, “Schmauch...Schrie...das Protokoll,”
Naives Deutschland, June 1993.
Kim Levin, “Best Bets Art,”
The Village Voice, February 1993.
Kim Levin, “Bets Art,”
The Village Voice, April 1992.
Peter Kloehn, “A-historical Williamsburg,”
Artscribe, No. 80, March/April 1990.
Photography of Invention Joshua Smith, Smithsonian Museum Press, Washington DC, 1989.
Vicki Goldberg, “The Real America,”
American Photographer, December 1989.
“Spring Preview,”
New York Magazine, September 12, 1989.
Roger Green, “Party on Julia Street,”
Art News, No. 6, Summer 1989.
Vince Alleti, “Best Bets Photography,”
The Village Voice, August 1989.
Altamon Baker, “American History Reinvented,”
Zoom, No. 155, June 1989.
Vince Alleti, “Best Bets Photography,”
The Village Voice, May 1989.
Carrington Calas, “Of Baudrillard, Lies and Women,”
Art Review, May/June 1989.
John Welchman, “Turning Japanese,”
Artforum, April 1989.