Born Chicago, Illinois


B.A. Photography, Pomona College, Claremont, California

M.A. Art History, University of California, Los Angeles


1977 – Present
Photography and Media Faculty,
 California Institute of the Arts, Valencia, California

1979 – 1984
Associate Dean of School of Art,
 California Institute of the Arts, Valencia, California

Co-director, Womanspace Gallery, Los Angeles

Compiled and edited the journals of Richard Neutra


Richard Telles Fine Art, Los Angeles

Three Funerals and Some Acts of Preservation, Richard Telles Fine Art, Los Angeles

Selected Photographs, Greenberg Van Doren Gallery, New York

Angles Gallery, Los Angeles 

Angles Gallery, Los Angeles 

Angles Gallery, Los Angeles

Angles Gallery, Los Angeles

New Photographs, Curt Marcus Gallery, New York
More Art, Patricia Faure Gallery, Los Angeles

Judy Fiskin: Some Photographs, 1973-1992, Museum of Contemporary Art, Los Angeles
Some Art and Some Furniture: Photographs by Judy Fiskin, Birmingham Museum, Birmingham, Alabama
Center for Creative Photography, Tucson, Arizona

Some Art, Curt Marcus Gallery, New York
Some Art, Asher-Faure Gallery, Los Angeles

Some Aesthetic Decisions, The New Museum, New York

New Work, Malinda Wyatt Gallery, New York

Dingbat, Paper Architecture, Minneapolis, Minnesota, sponsored by Film in the Cities

Desert Photographs, Castelli Graphics, New York
Desert Photographs, Arco Center for Visual Art, Los Angeles, California



Some Aesthetic Decisions: Centennial Celebration of Marcel Duchamp’s Fountain, NSU Art Museum, Fort Lauderdale

wellwellwell, Vienna, Austria, curated by Tenzing Barshee
Some Lifestyle Options, Richard Telles Fine Art, Los Angeles, curated by Jan Tumlir
Routine Pleasures, MAK Center, Los Angeles, curated by Michael Ned Holte
Strength in Numbers: Photography in Groups, Carnegie Museum of Art, Pittsburgh
Ma, Château Shatto, Los Angeles, curated by Fiona Connor
Intersections, The National Gallery, Washington D.C.

Made in L.A. 2014, curated by Connie Butler and Michael Ned Holte, Hammer Museum, Los Angeles

A Democracy of Images, Smithsonian Museum of American Art, Washington D.C.
See the Light: The Vernon Collection, Los Angeles County Museum of Art, Los Angeles

It Happened at Pomona, Part 3, Pomona College Museum of Art, Pomona, California

In Focus: Los Angeles, 1945-1980, Getty Museum, Los Angeles
Civic Virtue: The Impact of the L.A. Municipal Art Gallery, L.A. Municipal Art Gallery, Los Angeles
Under the Big Black Sun: California Art 1974-81, MOCA, Los Angeles
Seismic Shift: California Landscape Photography, California Museum of Photography
Street Sight, 
Armory Center for the Arts, Pasadena, California

The View from Here, San Francisco Museum of Modern Art, San Francisco
Los Angeles
 Collection: MOCA’s First Thirty Years, MOCA, Los Angeles

Los Angeles
Index: Conceptual Art in California from the Permanent Collection, MOCA, Los Angeles
Living Flowers: Ikebana and Contemporary Art, Japanese-American National Museum, Los Angeles
This Side of Paradise: Body and Landscape in Los Angeles Photography, Huntington Art Gallery, San Marino, California;
traveled to Musée Nicephore Niepce, Chalon-sur-Saone, France
Collecting Collections: Highlights from the Permanent Collection, Museum of Contemporary Art, Los Angeles

Los Angeles 1955-1985: Birth of an Art Capital, Centre Pompidou, Paris, France

Made in California: Art, Image and Identity 1900-2000, Los Angeles County Museum of Art, Los Angeles

Art Gallery of Toronto,
Toronto, Canada
Art Gallery of Windsor,
Windsor, Ontario, Canada
Contemporary Arts Center of Virginia,
Virginia Beach, Virginia
Santa Monica Museum of Art,
 Los Angeles
At the Threshold of the Visible: Miniscule and Small-Scale Art, 1964-1996, curated by Ralph Rugoff,  Edmonton Art Gallery,
Edmonton, Alberta, Canada, (cat.)

Last Chance for Eden, Danish Architecture Center, Copenhagen, Denmark
Herbert F. Johnson Museum of Art,
Cornell University, Ithaca, New York
At the Threshold of the Visible: Miniscule and Small-Scale Art, 1964-1996,curated by Ralph Rugoff, Meyerhoff Galleries, Maryland Institute of Art,
Baltimore, Maryland (cat.)

Portraits of Interiors, Studio La Citta
Verona, Italy
Galerie Blancpain Stepczynski,
Geneva, Switzerland

Friends of Photography, San Francisco
Ansel Adams Center
, San Francisco
Portland Art Museum, 
Portland, Maine
After Art: Rethinking 150 Years of Photography, Henry Art Gallery,
 University of Washington,
 Seattle, Washington, (cat.) 

The Museums at Stony Brook, 
Stony Brook, New York
Vancouver Art Gallery
, Vancouver, British Columbia, Canada
Ansel Adams Center, San Francisco
The Friends of Photography, San Francisco
Special Collections: Photographic Order from Pop to Now, Sheldon Memorial Art Gallery, Lincoln, Nebraska

Mary & Leigh Block Gallery, 
Northwestern University, Evanston, Illinois
Arizona State University Art Museum, Tempe, Arizona
The Chrysler Museum,
 Norfolk, Virginia
Special Collections: Photographic Order from Pop to Now, Bass Museum of Art, Miami, Florida

International Center for Photography,
 New York
Special Collections: Photographic Order from Pop to Now, Fondation, Deutsch, 
Lausanne, Switzerland
Typologies: Nine Contemporary Photographers, San Francisco Museum of Modern Art, 
San Francisco
The Naturalist Gathers, Stein/Gladstone Gallery, New York, curated by Douglas Blau 

Newport Harbor Art Museum, Newport Beach, California
Akron Art Museum, Akron, Ohio
Nine Contemporary Photographers, Corcoran Gallery of Art
, Washington, D.C. (cat.)
The Encompassing Eye: Photography as Drawing, University of Akron, Akron, Ohio,  curated by Charles Hagen
Present Picture, fiction/non-fiction, New York

Poetic Objectives, Curt Marcus Gallery, New York

Group Material: Democracy, DIA Art Foundation, New York

Lieberman and Saul, New York
A Visible Order, Gallery 400, University of Illinois, Chicago, curated by Renee Riccardo and Paul Laster

On View – New Work Gallery, New Museum of Contemporary Art, New York

Exposed and Developed: Photography Sponsored by the NEA, National Museum of American Art, 
Smithsonian Institute,
Washington, D.C.

Landscape Images: Recent Photographs by Linda
 Connor, Judy Fiskin, and Ruth Thorne-Thomsen, La Jolla Museum of Contemporary Art,
 La Jolla, California (cat.)
Long Beach: A Photography Survey, Art Museum and Galleries, California State University
 Long Beach, California (cat.)

Fort Worth Art Museum, Fort Worth, Texas,
Los Angeles in the Seventies, Joslyn Art Museum, Omaha, Nebraska, (cat.)



Clearwater, Bonnie, ed., Some Aesthetic Decisions: Centennial Celebration of Marcel Duchamp’s Fountain, Skira and NSU Art Museum, Fort Lauderdale, 2017

Butler, Connie, and Michael Ned Holte, Made in L.A. 2014, Prestel, 2014, pp. 50-55
Fiskin, Judy, “The End of Photography”, Made in L.A. 2014 Reader, Prestel, 2014, pp. 36-37

Heckert, Virginia, “Some Aesthetic Decisions: The Photographs of Judy Fiskin”, Getty Publications, 2011
Schimmel, Paul, et. al., Under the Big Black Sun: California Art, 1974-1981, Los Angeles, Prestel Publishing, 2011, pp. 150-151
Peabody, Rebecca, et. al., Pacific Standard Time: Los Angeles Art, 1945-1980, Los Angeles, Getty Research Institute, 2011, p. 275
McGrew, Rebecca and Phillips, Glenn, It Happened at Pomona: Art at the Edge of Los Angeles, 1969-1973, Pomona College Museum of Art, 2011, pp. 282-287, 356

Kienholz, Lyn, L.A. Rising: SoCal Artists Before 1980, California/International Arts Foundation, 2010, p.185
Goldstein, Ann, et. al., This is Not to be Looked At, Highlights from the collection of the Museum of Contemporary Art, Los Angeles

Higa, Karin, Living Flowers: Ikebana and Contemporary Art, Japanese-American National Museum, 2009, pp.5, 44-45

Contemporary Art, Los Angeles, MOCA Press, 2008, pp.98-99

Grenier, Catherine, ed., Los Angeles 1955 – 1985: Birth of an Art Capital, exhibition catalog from the Centre Pompidou, 2006, pp.251, 290-291

Rice, Mark, Through the Lens of the City: NEA Photography Surveys of the 1970s, University of Mississippi Press, 2005, pp.158, 165-58, 166, 192, 194

Fiskin, Judy, Some More Art, Museum of Contemporary Art, Los Angeles, 1992

Bartman, William, ed., Judy Fiskin, A.R.T. Press, Los Angeles, 1988. Essay by Christopher Knight.  Interview with John Divola. 26 reproductions of work from 1973-1988; 
Christopher Knight’s essay is reprinted in Last Chance for Eden, Art Issues Press, 1995, pp.56-58.
 The interview is reprinted in Between Artists, Art Press,
Los Angeles, 1996, pp.63-77

Fiskin, Judy, and Barnes, Dick, Thirty-one Views of San Bernardino, Los Angeles: Spectator Press, Pomona College, 1975


Diehl, Travis, “Critics’ Picks: Judy Fiskin”, artforum.com, April 7
“Group show at wellwellwell”, Contemporary Art Daily, February 28
Ned Holte, Michael, “2016 Top 10”, Artforum, December, p226

Knight, Christopher, “50 Masterpieces at LACMA”, Los Angeles Times, April 9

Green, Tyler, “Interview with Tyler Green”, Modern Art Notes Podcast, online podcast only, July 18

Smith, Roberta, “Judy Fiskin: ‘The End of Photography’ and Selected Photographs”,  New York Times, October 25, 2012
Knight, Christopher, ‘It Happened at Pomona’ shows a brief, enduring period, Los Angeles Times, May 10, 2012

Finkel, Jori, “It Speaks to Me: Judy Fiskin on Joe Deal”, Los Angeles Times, August 10, 2011, section D, p.3

Knight, Christopher, “Art review: Judy Fiskin at Angles Gallery”, Los Angeles Times, March 12, 2010, section D, pp.16-17

Goldstein, Ann et. al., This is Not to be Looked at: Highlights from the Permanent Collection of the Museum of Contemporary Art, Los Angeles, MOCA Press, pp.98-99
Leingre, Guillaume, “Love film, love camera”, Le Silo blog

Bedford, Christopher, “Judy Fiskin at Angles Gallery”, Art in America, October 2007, p. 220
Judy Fiskin at Angles Gallery, Afterall Online, June 8, 2007
Pagel, David, “Farewell to an art, to an era”, Los Angeles Times, April 13, 2007, section E, p.20
Tumlir, Jan, “Sci-Fi Historicism Part 2: Desertshore”, FlashArt, Vol. XL No. 254, May-June 2007, pp.118-121

Tumlir, Jan, “Judy Fiskin”, Artforum, April 2004, p.165
Freeman, Tommy, “Judy Fiskin at Angles Gallery”, Artweek, April 2004, vol. 35, issue 3, p. 22
Teffinger, Stephen, “TABLES; Serious About Settings In 26 Fraught Minutes”, New York Times, March 11, 2004
Myers, Holly, “Set the Table? Let us count the ways”, Los Angeles Times, January 30, 2004, section E, p.25

Myers, Holly, “This Show is Not Just Kids’ Stuff”, Los Angeles Times, December 19, 2001, Calendar, pp.1-2

Freudenheim, Susan, “The Getty’s Link to the Living”, Los Angeles Times, March 5, 2000, Calendar, p.1
Harvey, Doug, “Departures: 11 Artists at the Getty”, LA Weekly, March 10-16, pp.37-38.
Knight, Christopher, “Art Reviews”, Los Angeles Times, December 15, 2000, Calendar, p.6
Littlejohn, David, “Hilltop Invitational”, The Wall Street Journal, April 25, 2000, Sec. A, p.22
Pagel, David, “Fresh Riffs on a Theme”, Los Angeles Times, March 1, 2000, Calendar, pp.1,7-8

“Best Bets”, Los Angeles Times, December 3, 1998, Calendar, p.2
Schwabsky, Barry, “Super 8 Grows Up With a Festival of Its Own”, New York Times, February 8, 1998, p.12

Greene, David, A., “Sight Unscene: The Virtual World of Judy Fiskin”, Los Angeles Reader, November 4, 1994, vol. 17, no.4, p.14
Kandel, Susan, “Fiskin’s Transcendental Photographs”, Los Angeles Times, October 27, 1994, Section F, p.4

Drohojowska-Philp, Hunter, “The Pleasure Posture”, Art Issues, November/December 1993, pp.20-23
Tager, Alisa, “Judy Fiskin at MOCA”, Lapiz, no.91, February 1993, p.72

Drohowjowska, Hunter, “Let’s Get Small”, Los Angeles Times, CALENDAR, November 15, 1992, pp.9, 88-89
Fuller, Gregory, “Kitsch-Art: Wie Kitsch zur Kunst wird”, Dumont Buchverlag, Cologne, 1992, pp. 25,27,47ff.
Goldberg, Vicki, “7,000 Pictures Are Better than One”, New York Times, August 23, 1992, pp.25,30

Curtis, Cathy, “Fiskin’s Art Can Be Put in a Box”, Los Angeles Times, April 23, 1991, Section F, pp.1,3
Gipe, Lawrence, Judy Fiskin, FlashArt, vol.24 n.158, May/June 1991, p.142
Hagen, Charles, “The Encyclopedic Eye: Photography as Drawing”, Aperture no.125, Fall 1991, pp.56-71, reproductions p.60
Kandel, Susan, “The Tiny Photographs of Judy Fiskin”, Art Issues, no. 16, February/March 1991, pp.16-19, Cover photograph,
 Myers,Terry R.,
Judy Fiskin, Arts, April 1991, p.82
Schotttlaender, Sherri, “Direct from Daddy’s Den: Judy Fiskin at Asher/Faure”, Artweek, vol.22, no.4, January 31, 1991, p.13
Spector, Buzz, Judy Fiskin, Artforum, April, 1991, pp.132-3

Gerstler, Amy, Judy Fiskin at Newspace, Art Issues, no.3, April 1989, p.251
Pincus, Robert L., “Judy Fiskin: Some Questions of Aesthetics”, Visions, Winter 1989, pp.10-13
Selwyn, Marc, Judy Fiskin, “Newspace”, Los Angeles, Flash Art, no.145, March/April 1989, p.117

McDarrah, Fred, “Voice Centerfold”, Village Voice, March 5, 1985, p.73

Armstrong, Richard, “Judy Fiskin’s Photographs,” Journal: Southern California Art Magazine, September – October 1979, p.27.
Reprinted in Journal: Southern California Art Magazine, vol.4, no.40, December 1984, p.5
Relyea, Lane, “Pick of the Week”, L. A. Weekly, November 23-29, 1984, p.117

Clothier, Peter, “Judy Fiskin at Newspace”, Art in America, April 1983, p.189
Hugunin, James R., “Hey Judy! Let’s Went”, Frequently Rejected Essays, 1983, pp.24-31

Armstrong, Richard, Judy Fiskin, “‘Long Beach Series’, L.A. Institute of Contemporary Art, and ‘More Stucco’, Otis-Parsons Art Gallery”, Artforum, May 1982, pp.90-91
Berland, Dinah, “Dingbats Find a Place in Art”, Los Angeles Times, December 19, 1982, Calendar Section, p.108
Danieli, Fidel, “Judy Fiskin at LAICA”, Images and Issues, Spring 1982, p.92
Knight, Christopher, “Fiskin’s Witty Photos Spotlight L. A. Apartment Buildings”, Los Angeles Herald Examiner, December 15, 1982, sec.C, p.1


Santa Monica Review, Fall 2008, Cover.

Metropolis, November 2002, p.114. Reproductions from Dingbat

Art & Design, vol.11, 11/12, 1996, Profile no.51, “Art and the Home”, guest editor David Greene, pp.62- 69, Portfolio of eight photographs from various series.

Lingo 4, 1995, pp.158-159, Reproductions from Dingbat

Los Angeles Times Magazine, Cover photograph, September 5, 1993

Framework, vol.4, no.2, 1991, p.23

OFFRAMP, vol.1, #3, Fall 1990, pp.26-31. Reproductions from My Trip to New York

OVERSIGHT, Spring 1990, pp.20-21. Reproductions from Jersey Shore
Paris Review, Spring, 1989, no.110., pp.61-73. Portfolio of 12 photographs from Portraits of Furniture
Gerstler, Amy and Smith, Alexis, Past Lives, 1989, Photograph produced specifically for this artist’s book, p.1

ZYZZYVA, Vol.IV, No.4, Winter 1988, Reproductions from Portraits of Furniture

SPECTACLE: A Field Journal from Los Angeles, #5/6, Fall 1986, p.43. Reproductions from Stucco
STROLL, November-December-January, 1986-1987, pp. 20-21. Portfolio from Dingbat

Arts and Architecture, vol.3, no.3, 1984, pp.43-46. Reproductions from Dingbat

Afterimage, January 1983, p.23, Reproduction from Dingbat

Afterimage, January 1981, p.31. Reproduction from Long Beach

Morris, Jan, “L.A. Turnoff”, Rolling Stone, July 1, 1976, p.30. Reproductions from Stucco

Journal: Southern California Art Magazine, June 1974, cover photograph.
Moore, Alan, “New Voices”, Artforum, December 1974, p.63. Reproduction from Stucco

L. A. Magazine, July 15, 1972, pp.16-20. Reproductions from Stucco


“If I Ran the NEA”, Los Angeles Times, March 1, 2009, Section F, p.6.

“Trompe l’Oeil for Our Time”, Art Issues, November/December 1995, pp.27-29.

“Scenes from a Censorship Zone”, Los Angeles Times, April 17, 1993, Section F, p.1,3

“Borges, Stryker, Evans: The Sorrows of Representation”, Views: The Journal of Photography in New England, vol. 9, no. 2, Winter 1988, pp.2-6; reprinted in Multiple Views: Logan Grant Essays on Photography, 1983-1989, University of New Mexico Press, 1991, pp.247-69

“On TV Generations’”, Journal: Southern California Art Magazine, vol.6, no.46, Spring, 1987 p.11


AWARDS (See Videography for video awards)
Los Angeles Printmaking Society Purchase Award
Grünwald Center for the Graphic Arts,
 Hammer Museum, Los Angeles

L.A. Center for Photographic Studies for
 Distinguished Career in Photography

National Endowment for the Arts
, Individual Artist’s Grant in Photography

Reva and David Logan Grant for New Writing on Photography
Administered by the Photographic Resource Center, Boston University

National Endowment for the Arts, 
Photography Survey Grant


Three Funerals and Some Acts of Preservation
The filmmaker tells the story of the two burials of Michelangelo, films the conservators at the Getty working on their sculpture collection in ways that you might not have imagined, and plans her own funeral, based on some that she’s attended and others she’s seen in movies.

I’ll Remember Mama
A meditation on the imminent passing of her mother – the objects that she will leave behind and the memories and knowledge that will disappear with her passing. Screening at the Hammer Museum, biennial, “Made in L.A. 2014”.

Guided Tour
A mash-up of two docent talks set against images of art shot by the filmmaker that have no relationship to the art that is being discussed by the docents.
It has been screened at Angles Gallery, Los Angeles and at the Chicago Underground Film Festival.
Screened in 2014 at the Hammer Museum, Los Angeles
Screened in 2011 at the Dallas Video Festival;
 Images Festival, Toronto, and Worldfest, Houston, where it was winner of Silver Remi award.

The End of Photography
This short film, shot on black and white super-8 film, is a lament for the fading away of film. The narrator lists all the implements involved in the making of analog photographs while shots of the pre-McMansion vernacular landscape in Los Angeles flash by.
It has been screened at the Amsterdam International Documentary Film Festival, The Netherlands; J. Paul Getty Museum, Los Angeles, invitational screening; Angles Gallery, Santa Monica; Rencontres Internationales Paris/Berlin, screenings in Paris, Berlin and Madrid; the Kassel Film and Video Festival in Kassel, Germany; European Media Art Festival, Osnabruck, Germany and “Saison Video,” Espace Croisé, Lille, France.
2012 Screenings: 
Greenberg Van Doren Gallery, New York; Centro Cultural Contemporanea, Barcelona, Spain
2011 Screenings:
 Angles Gallery, Los Angeles
2010 Screenings: 
Museum of Contemporary Art, Detroit; 
Henry Art Gallery at the University of Washington
2007 Screenings: Antimatter Festival, Victoria, B.C.; 
Berkeley Film and Video Festival; 
Worldfest Houston; 
Dallas Video Festival
2008 Screenings:
 Séance panorama contemporain, Bétonsalon, Paris;
 Galeria Virgilio, Sao Paulo, Brazil;
 MOCA, Los Angeles: “Index: Conceptual Art in California from the Permanent Collection”

50 Ways to Set the Table
This documentary about the annual table-setting competition at the L.A. County Fair is a visit to a piece of Americana where the pleasures of making meet the unbending rules of social class.
It has been screened in the Documentary Fortnight series at the Museum of Modern Art in New York, at Cinematexas in Austin, at the New York Underground Film Festival in New York City, at the South by Southwest Film Festival in Austin, Texas; Angles Gallery, Los Angeles, and at the Hammer Museum, Los Angeles.

What We Think About When We Think About Ships
This video installation was commissioned by LACMALab at the Los Angeles County Museum of Art. The artists were asked to create an installation that used an object from the museum’s collection and to address  the theme of “seeing” in a way that would be appropriate for both children and adults.

In a small room that houses a 19th century marine painting, viewers look into viewing slits and see the same tape loop: A sailor repeatedly falls on his face toward the camera, clearing the screen for a succession of unexpected representations of ships – an outline of a tugboat drawn in glue, then set on fire; a dozen toy sailboats sinking out of sight in a bathtub while emitting small cries of distress; an ice sculpture of a sailing ship slowly melting, and so on.

 Exhibited at LACMALab at the Los Angeles County Museum of Art, November, 2001 – August 2002.

My Getty Center
This tape chronicles the winter of 1997, when El Nino and the Getty Center came to Los Angeles at the same time, generating a few rainstorms, a billion dollar cultural complex, and an avalanche of hype. It is a tape about the talk that surrounds things – the media hype around new museum buildings and the weather, and                   especially the talk around art.
 Silver Award, Worldfest Houston, 2000
Best of Festival, Berkeley Film and Video Festival
Other Screenings: 
J. Paul Getty Museum, as part of “Departures: 11 Artists at the Getty”;
 Rencontres Internationales Paris/Berlin; Impakt New Media Festival, Utrecht, Holland; YYZ, Toronto; Rutgers University; Hammer Museum, Los Angeles.

Diary of a Midlife Crisis
This is a serio-comic video diary about a middle-aged photographer whose fear of moving the video camera is used as a comic metaphor for her feeling of being creatively at a standstill. The emotional climax comes when she executes her first shaky pan. A meditation on art, aging, creativity and the difference between stillness and motion.
Awards: Silver Spire Award, San Francisco International Film Festival, 1998
Bronze award, Worldfest Houston, 1998
Other Screenings:
Museum of Contemporary Art, Los Angeles; Art in General, New York;
 Bonn Videonale, Bonn, Germany; Kassel Film and Video Fest, Kassel, Germany;
 Bandits- Mages Festival, Bourges, France; Film Arts Festival of Independent Cinema, San Francisco; Atlanta Film and Video Festival; Brisbane International Film Festival; L.A. Freewaves Festival, Los Angeles.