Born in Los Angeles 1968
Lives and works in Chicago, Illinois

 

EDUCATION
1992
BFA, Acting, California Institute of the Arts, Valencia, California

1997
MFA, Post Studio Art, Art Center College of Design, Pasadena, California

 

SOLO EXHIBITIONS
2015
Afterword via Fantasia, (w/ George Lewis, Charles Gaines, & Sean Griffin), Galerie Catherine Bastide, Paris

2012
Inaugurals, Reva and David Logan Center for the Arts, Chicago

2007
Triangle of Need, Walker Art Center, Minneapolis; A Foundation, Liverpool; The Vizcaya Museum, Miami; Metro Pictures, New York; Smart Museum of Art, Chicago; Galerie Christian Nagel, Cologne; Royal Academy of Arts, London (2007-2008) (cat.)

2006
The Chittendens: The Resusitation of Uplifting, Galleria Gió Marconi, Milan
‘Tis Pity She’s a Fluxus Whore, Sketch, London
The Chittendens: The Resusitation of Uplifting, Galerie Catherine Bastide, Brussels

2005
The Chittendens: The Resusitation of Uplifting. Secession, Vienna, Austria, 2005; Travels to Tate Modern, London, Metro Pictures, NY, and Galerie Catherine Bastide, Brussells (cat.)
‘Tis Pity She’s a Fluxus Whore, MAGASIN-Centre National d’art Contemporain de Grenoble, France.
Catherine Sullivan, Kunsthalle Zurich, Zurich

2004
House of Peter, House of Alex (and some of those crappy details), Kunstverein Braunschweig, Germany (catalog)
Getting Out of the 20th Century Alive, Neuer Aachener Kunstverein, Aachen, Germany, 2004.
Catherine Sullivan, Giò Marconi Gallery, Milan

2003
Speech Model from ‘The Flies’, Fruits of Crime, Goose Fair, (Collaboration with Lisa Lapinski), Galerie Mezzanin, Vienna
‘Tis Pity She’s a Fluxus Whore, Wadsworth Atheneum Museum of Art, Hartford; Galerie Catherine Bastide, Statements, Basel
Five Economies (big hunt/little hunt), Renaissance Society at the University of Chicago, UCLA Armand Hammer Museum, Rubell Family Foundation, Miami, 2002. Metro Pictures, New York, Centre D’Art Contemporain Fri-Art Kunsthalle, Fribourg, Switzerland, (catalog)

2001
Unspoken Evil III – Rites of Ascension and Obscurity, Galerie Catherine Bastide, Brussels
Gestus Maximus (Gold Standard), Galerie Christian Nagel, Cologne, Germany

 

PERFORMANCES & THEATRE WORKS
2004
Audimax/Neustadt Manifestation, Audimax, RWTH, Aachen, Germany, Volksbüehne, Berlin, Germany
Ice Floes of Franz Joseph Land (Orensanz/S.W.A.P. Manifestations),  S.W.A.P. Chicago, Angel Orensanz Center, New York

2003
Lyon Manifestation, Opera De Lyon, France, in conjunction with Le Biennale d’art contemporain de Lyon, and in conjunction with the festival “Nouvelles Scènes” presented by Le Consortium Art Center, Dijon, France
Wadsworth Manifestation, Presented in conjunction with the exhibition “‘Tis Pity She’s a Fluxus Whore”, Wadsworth Atheneum Museum of Art, Aetna Auditorium

2002
Gold Standard (Canetti/Gibson Infusion), Presented in conjunction with the exhibition “Catherine Sullivan: Five Economies (big hunt/little hunt)” , UCLA Armand Hammer Museum, Los Angeles, California, and The Renaissance Society at the University of Chicago, Chicago

2001
Grisly Notes and Tones, Presented by Le Consortium Art Center, Dijon, France as part of the annual festival “Nouvelles Scènes”
Gold Standard (hysteric, melancholic, degraded, refined), Presented in conjunction with “New Writing From Los Angeles”, organized by Benjamin Weissman, UCLA Armand Hammer Museum, Los Angeles, California

1999-2003
The Chironomic Remedy, Presented in conjunction with the “LA Edge Festival”, Biltmore Hotel, Los Angeles, CA 1999; as part of “New Music Forum”,
University of Southern California San Diego, 2000; and at Berkeley Art Museum, 2003

1998
Let the Right Be a Vision of the Left, Trapdoor Theatre, Chicago Illinois, 1998

1997
Dad’s Ham, Trapdoor Theatre, Chicago, Illinois, 1997

1995
Grisly Notes and Tones, McKinley Auditorium, Pasadena, California, 1997
Unspoken Evil I,  Art Center College of Design, Pasadena, California, 1995

1994
Lights First, Then Water, Proto Theatre, Tokyo, Japan, 1994

 

GROUP EXHIBITIONS
2014
The 2014 Whitney Biennial, Whitney Museum of American Art, New York
Nothing Twice, Centre for the Documentation of the Art of Tadeusz Kantor, Krakow, Poland

2013
White Petals Surround Your Heart, Institute of Cotemporary Art, University of Pennsylvania, Philadelphia, (cat.)
Only parts of us will ever touch parts of others, Galerie Thaddaeus Ropac, Paris

2012
Mindaugas Triennial, The 11th Baltic Triennial of International Art, Contemporary Art Centre, Vilnius, Lithuania

2011
After Images, Jewish Museum of Brussels (cat.)
Mirages, Fountains & Dissociative Composition, Gallery Catherine Bastide, Brussels

2010
Scene Shifts, Bonniers Konsthall, Stockholm (2010-2011)
Entr’acte, Galerie Catherine Bastide, Brussels
Le Printemps de Septembre, L’hôtel Dieu, Toulouse, France

2009
Metro Pictures, New York
Superficiality and Superexcrescence, Ben Maltz Gallery, Otis College of Art and Design, Los Angeles (cat.)
New Acquisitions, Miami Art Museum, Miami
Entr’acte, The Center for Curatorial Studies and Hessel Museum of Art, Bard College, Annadale-on-Hudson, New York

2008
Molten States, GSK Contemporary; Royal Academy of Arts, London
Collecting Collections: Highlights from the Permanent Collection, The Museum of Contemporary Art, Los Angeles, (cat.)
7th Gwangju Biennale, Gwangju, Korea (cat.)
Four Thursday Nights: Creative Imagination, Aspen Art Museum, Aspen
Adapation, Smart Museum of Art, University of Chicago, Chicago

2007
Stop & Go, Fondazione Sandretto Re Rebaudengo, Torino
The World as a Stage, Institute of Contemporary Art, Boston, (cat.)
Imagine Los Angeles/Uneasy Angel, Sprüth Magers, Munich
The World as a Stage, Tate Modern, London (cat.)
Taking Pictures, K21 Kunstsammlung Nordrhein-Westfalen, Dusseldorf
Ver Bailar, Centro Andaluz de Arte Contemporáneo, Seville, Spain
The Recognitions, The Fireplace Project, East Hampton, New York
Shooting Back, Thyssen-Bornemisza Art Contemporary, Vienna
Électrons libres, Tabacalera International Contemporary Culture Centre of San Sebastian, Spain

2006
Red Eye: L.A. Artists from the Rubell Family Collection, The Rubell Family Collection, Miami, Florida (cat.)
Une vision du monde, La Maison Rouge, Paris
The Black Show, Patton Projects, Los Angeles
Mixart Chicago, James Hotel, Chicago
A Short History of Performance Part IV, Whitechapel Art Gallery, London
The Dance of the Avant-Gardes, Museo di arte moderna e contemporanea de Trento e Rovereto, Rovereto

2005
Contour, 2nd biennal for video art,  Stadhuis, Mechelen, Belgium
Prague Biennial, Prague, Czechloslovakia
Remagine, Oeuvres du Fonds National d’art Contemporain, Musée d’Art Contemporain Lyon, France
Life Once More, Forms of Reenactment in Contemporary Art, Witte de With, Rotterdam, Netherlands

2004
Whitney Biennial, Whitney Museum of American Art, New York
Playlist, Palais de Tokyo, Paris, France
Video Dreams, Kunsthaus Graz, Graz, Austria

2003
Biennale d’art Contemporain de Lyon, Lyon, France
Baja to Vancouver: Vancouver Art Gallery, Vancouver
Silver, Art Gallery of Greater Victoria, Victoria, BC, Canada
Works on Paper, Richard Telles Fine Art, Los Angeles
Brightness: Thyssen-Bornemisza Foundation in Contemporary Art at the Museum of Modern Art, Dubrovnik, Croatia,

2002
Crisp, Marianne Boesky Gallery, New York

2000
L.A.- ex, Museum Villa Stuck, Munich, Germany

1998
Still and Otherwise, Margo Leavin Gallery, Los Angeles, California
Lines of Sight, Site-specific project at the California aqueduct, Lancaster, California

1996
Video Povera, California State University, Los Angeles
SuperIntellectuals, Three Day Weekend, Los Angeles, California

1995
Gander Mountain High, Room 10, Pasadena, California

 

SCREENINGS
2012
The Last Days of British Honduras, Berlin International Film Festival

2010
The Last Days of British Honduras, Cannes Film Festival, Cannes, France
The Last Days of British Honduras, Tate Modern, London

2009
The Chirologic Remedy, Tate Modern, London

2008
Triangle of Need, Centre Pompidou, Paris

2005-2006
D-Pattern, with musical score by Sean Griffin, The Silverlake Film Festival, Los Angeles;
Technologized Bodies/Embodied Technologies, MIT Cambridge; The Artists Cinema, Frieze Art Fair, London
Ice Floes, CCA Laznia, Gdansk
Ice Floes, CCA Glasgow, Scotland
A Short History of Performance – Part IV & The Ice Floes of Franz Joseph Land, Whitechapel Art Gallery, London

2004
Ice Floes of Franz Joseph Land, Angel Orensanz Foundation, New York; S.W.A.P. Polish Army Veterans Association, Chicago

2003
‘Tis Pity She’s a Fluxus Whore, Wadsworth Antheneum, Hartford, Connecticut
Ice Floes of Franz Joseph Land, Biennale D’Art Contemporain de Lyon, Amphitheatre of the Opéra National Opera of Lyon, France

2002
Gold Standard, The Renaissance Society, University of Chicago; Hammer Museum, University of California, Los Angeles

2001
Gold Standard (hysteric, melancholic, degraded, refined), Date Palm Dance, Unspoken Evil III – Rites of Ascension and Obscurity, Presented in conjunction with the exhibition Cosima von Bonin, Kunstverein Hamburg, Hamburg, Germany
Gold Standard (hysteric, melancholic, degraded, refined), Hammer Museum, University of California, Los Angeles
Grisly Notes and Tones, Le Consortium Art Center, Dijon, France

1999
The Chirologic Remedy, Presented by Galerie Christian Nagel, Cologne, Germany and the Secession, Vienna, Austria

1996
Unspoken Evil II, Three Day Weekend, Los Angeles, California

 

PUBLICATIONS
2007
The World as a Stage, exhibition catalogue, Tate Modern, London

2005
Catherine Sullivan: The Chittendens: Discrete Manifestations with Music with Sean Griffin, exhibition catalogue, Vienna Succession and Tate Modern, London

2002
Catherine Sullivan, Five Economies (big hunt/little hunt), exhibition catalogue, with essay by Hamza Walker, and interview with Russell Ferguson
Los Angeles: UCLA Hammer Museum and Renaissance Society at the University of Chicago.

2000
Through the Scattered Glances, Spring Journal Vol. II, Quality Press.

1999
A Spectacle of Ruin and Doubt, Fama & Fortune Bulletin, Verlag Pakesch & Schlebrugge, December.

1998
Grisly Notes and Tones (A Strawman’s Excerpt), Spring Journal Vol. I, Quality Press.
The Red Perils of Voluminous Green, Asteroid Impaired: Righteous American Fiction Vol. I. Art Center College of Design, 1998. Co-edited with Benjamin Weissman and Alexis Hall

 

AWARDS
2004-2005
Deutscher Akademischer Austauschdienst

2004
Herb Alpert Foundation

2003
Louis Comfort Tiffany Foundation

2002
Etants Donnèes

 

SELECTED COLLECTIONS
Vanhaerents Art Collection, Brussels, Belgium
Musée d’Art Contemporain, Marseille, France
Thyssen Bornemisza, Vienna, Austria
Miami Art Museum, Miami
Tate Modern, London
Whitney Museum of American Art, New York
Walker Art Center, Minneapolis
Museum of Contemporary Art, Los Angeles
Hammer Museum, Los Angeles
Rubell Family Foundation, Miami
Musée d’Art Contemporain Lyon, France
Castello di Rivoli, Turin, Italy
Sandretto Re Rebaudengo Foundation, Torino, Italy
Geotz Collection, Munich, Germany
Wadsworth Atheneum Museum of Art, Hartford

 

SELECTED BIBLIOGRAPHY
2013
Chaillou, Timothée, Only parts of us will ever touch parts of others, Galerie Thaddaeus Ropac, Paris/Salzburg: 144.

2011
Sharmini, Farhad & Sullivan, Catherine. “Abstract Honduras,” Afterall (No. 26 Spring): 118-123.
Donovan, Thom,  “Virtuosity and the Survival of the Subject: On Catherine Sullivan,” Afterall
(No. 26, Spring): 111-117.
Wood, Catherine,  “Fixed Explosive: Catherine Sullivan’s Choreography of Stasis,” Afterall
(No. 26, Spring): 103-109
Blondin, Philippe,  After Images, Jewish Museum of Belgium, Brussels: 126-127.

2010
Olivares, Rosa,  100 Video Artists, Exit Publications, Madrid: 386-389.

2009
Elizabeth Thomas, Matrix/Berkeley: A Changing Exhibition of Contemporary Art, University of California, Berkeley Art Museum and Pacific Film Archive, Berkeley, California, pp. 433
Superficiality and Superexcrescence, Fellows of Contemporary Art, Los Angeles, pp. 90-92
Holly Myers, “Penetrating the Surface,” The Los Angeles Times, July 8, pp. D4
George Melrod, “Superficiality and Superexcrescence,’ at Otis College of Art and Design, Ben Maltz Gallery,” Art Ltd., September
Alice Savorelli, “Americans in Milan,” Artnet.com, March 18
Stan Douglas and Christopher Eamon (eds.), Art of Projection, Hatje Catnz Verlag, Ostfildern, pp. 120

2008
Judy Radul, “I Come to Bury Ceasar: The Image of Theatre in the Imagination of Visual Art,” Art Lies, No. 60, Winter, pp. 66-71
This is Not To Be Looked At: Highlights from the Permanent Collection, The Museum of Contemporary Art, Los Angeles, pp. 294-295
Okwui Enwezor (ed.), The 7th Gwangju Biennale, Gwangju Biennale Foundation and BOM Publishing, Gwangju, Korea, pp. 248-251
“Meg Stuart & Catherine Sullivan,” Bomb, Summer #104, pp. 28-35
Frances Richard, “Reviews: Catherine Sullivan,” Artforum, May, pp. 376
Thomas Micchelli, “Catherine Sullivan: Triangle of Need,” The Brooklyn Rail, April, pp. 52-53
Mark Nash, “Reality in the Age of Aesthetics,” Frieze, April, pp. 118-125
Barbara Casavecchia, “I’m Not There,” Mousse, Issue #12, January, pp. 68-70
Thom Donovan, “Every Name in History is I: Catherine Sullivan’s Triangle of Need,”fanzine.com” March 12
Doryun Chong, “Catherine Sullivan: Triangle of Need,” Pluk, Issue #35, Spring, pp. 27-29
Dan Fox, “The World as a Stage,” Frieze, January/February, pp. 182-183
Pil and Galia Kollectiv, “The World as a Stage,” Art Papers, January/February, pp. 50-51
Skye Sherwin, “Menage A Trois: Catherine Sullivan,” Art Review, February, pp. 22

2007
Jessica Morgan, Catherine Wood, The World as a Stage, Tate Publishing, London, pp. 64-67
Marybeth Sollins (ed.), Art 21: Art in the Twenty-First Century, Abrams, New York, pp. 154-164
Marie de Brugerolle, “Next to Performance,” Flash Art, November/December, pp. 88-90
Nicole Scheyerer, “Shooting Back,” Frieze, October, pp. 283
Triangle of Need, Walker Art Center, Minneapolis, pp. 33
Melanie Gilligan, “The Beggar’s Pantomime,” Artforum, Summer, pp. 426-433
Red Eye: L.A. Artists from the Rubell Family Collection, Rubell Family Collection, Miami, pp. 116-117

2006
Catherine Sullivan and Co: Film and Theater Works 2002-2004, JRP Ringier, Zürich, Switzerland, pp. 188
Benjamin Cook, Gary Thomas (ed.), The animate! Book: rethinking animation, LUX, London, pp. 127-131
Cynthia Nadelman, “Reviews,” ARTnews, April, pp. 142
“Changing Platforms,” ArtReview, March, Volume LXII, pp. 88-93
Melissa Friedling, Flash Art, January-February
Katy Deepwell, “n.paradox, International Feminist Art Journal, Volume 17, pp 12-13
Catherine Sullivan, “1,000 Words,” Artforum, February, pp. 174-177
Uta Grosenick, ed., Art Now, Vol. 2, Taschen, Cologne, pp. 504-507

2005
Catherine Sullivan: The Chittendens, Secession and Tate, London, pp. 64
Catherine Wood, “An Actor Prepares,” Frieze, November – December, pp. 108-111
Chris Hammonds, “Tis Pity She’s a Fluxus Whore,” Untitled, London, Spring, pp. 8-11
Catherine Sullivan, Beatrix Ruf, Sebastian Egenhofer, Catherine Sullivan, JRP Ringier

2004
Lisa Baldissera, Silver Dreams, Screens and Theories, Art Gallery of Greater Victoria, Victoria, Canada ( cat.)
Jocko Weyland, “American Splendor,” Time Out New York, March 4 –11, Issue 440, pp. 12 –15
Reena Jana, “The Ambiguity of Vision,” Tema Celeste, March/ April, Issue 102, pp. 52-57
Peter Plagens, “Art’s ‘Star Search’,” Newsweek, March 15
Mark Stevens, ”Antithesis,” New York, March 22, pp. 122-124
Peter Schjeldahl, “What’s New,” The New Yorker, March 22, pp. 100-101
Jerry Saltz, “The OK Corral,” Artnet, March
Melissa Dunn, “Whitney Biennial 2004: A Good-Looking Corpse,” Flash Art, May-June, pp. 63, 80
Merrily Kerr, “Recuperating Revolt,” Flash Art, May-June, pp. 106-109
Eleanor Heartney, “The Well-Tempered Biennial,” Art in America, June/July, pp. 70-77
RoseLee Goldberg, “Catherine Sullivan – Angel Orensanz Foundation/ Whitney Museum of American Art,” Artforum, Summer, pp. 251
Rubell Family Collection – Not Afraid, Mark Coetzee, Phaidon Press Limited, New York, pp. 213

2003
Domenick Amirati, “New York Critics’ Picks- Catherine Sullivan,” Artforum.com, March 2003
Johanna Burton, “Catherine Sullivan, ‘Five Economies (Big hunt/little hunt)’,” Time Out New York, March 13-20, pp. 73
Samuele Menin and Valentina Sansone, “Focus Video and Film, Contemporary Video Art (Part II),” Flash Art, March – April, pp. 98
Christopher Chambers, “Reviews: New York,” Flash Art, May / June, pp. 149
Roberta Smith, “Art in Review,” The New York Times, March 21, pp. E40
Margaret Sundell, “Repeat Performance,” Artforum, October, pp. 136-39
Ingrid Paulsen, “Silver: cinema in contemporary art,” Saanich News, December
Michael D. Reid, “Uncovering the Art of Movies,” Times Colonist, November 27

2002
Five Economies (big hunt/ little hunt), The Renaissance Society, University of Chicago
Meghan Dailey, “Preview- Catherine Sullivan,” Artforum, May, pp. 75
Alice Epstein, “Human Touch Reaches the Post-Baroque,” Chicago Weekly News, May 1, pp. 9, 11
Lisa Stein, “Director Merges Theater and Movies,” Chicago Tribune, May 17
James Yood, “Catherine Sullivan,” Artforum International, September, pp. 208

2001
Sebastian Egenhofer,”Theater und Gewalt Oder: Was Wird Hier Eigentlich Gespielt?,” Texte Zur Kunst, No. 43, September, pp. 171-5, Cologne
Stephane Pichelin, “L’ours montre qui montre,” L’Humanite, December 10, Paris

2000
“Through the Scattered Glances,” Spring Journal, Volume I, Quality Press

1999
“A Spectacle of Ruin and Doubt,” Fama & Fortune Bulletin, Verlag Pakesch & Schlebrugge, December

1998
Albert Williams, “Alien Hand or Let The Right Be A Vision Of The Left,” Chicago Reader, No. 38, June 12
“The Red Perils of Voluminous Green,” Asteroid Impaired: Righteous American Fiction Volume I, Benjamin Weissman and Alexis Hall (eds.), Art Center College of Design, California
“Grisly Notes and Tones (A Strawman’s Excerpt),” Spring Journal, Volume I, Quality Press

1997
Justin Hayford, “Dad’s Ham,” Chicago Reader, No. 34, May