JUDITH BARRY
Born in Columbus, Ohio.
EDUCATION
New York Institute of Technology, NYC, NY, M.A., 1987.
Lives and works in NYC, NY.
SELECTED SOLO SHOWS
2017
Mary Boone Gallery, NYC, NY. imagination, dead imagine.
2015
Museum of Contemporary Art San Diego, San Diego, California. Judith Barry: Voice off.
2014
Rosamund Felsen Gallery, Santa Monica, California. …Cairo stories.
2012
MUMOK, Museum Moderner Kunst Stiftung Ludwig Wien, Vienna, Austria. Judith Barry: Voice off.
ZKM, Zentrum für Kunst und Medientechnologie Karlsruhe, Karlsruhe, Germany. …Cairo stories.
2011
Galerie Karin Sachs, Munich, Germany. …Cairo stories.
2010
Berardo Museum, Lisbon, Portugal. Judith Barry: Body without limits, a survey.
2008
Domus Artium 2002, Salamanca, Spain. Judith Barry: Body without limits, a survey.
2006
Galerie Karin Sachs, Munich, Germany.
Galerie Hubert Winter, Vienna, Austria.
2005
FRAC Lorraine, Metz, France. Wall to be destroyed.
2004
Rosamund Felsen Gallery, Santa Monica, California.
Caja San Fernando, Cadiz, Spain. Study for the Mirror and Garden.
2003
Institute of Contemporary Art, Boston, Massachusetts. the Museum you want.
Caja San Fernando, Seville, Spain. Study for the Mirror and Garden.
Faluka Gallery, Cairo, Egypt. Public Fantasies.
2001
Luis Serpa Galeria, Lisbon, Portugal. Voice off.
Galerie Karin Sachs, Munich, Germany. Au bout des levres.
ARTcontainer, NYC, NY. First and Third.
2000
Rosamund Felsen Gallery, Santa Monica, California. The terror and possibility of the things not seen.
City Hall, Vienna, Austria. First and Third.
1999
MediARTS, St. Louis, Missouri. First and Third.
1998
Luis Serpa Galeria, Lisbon, Portugal. The terror and possibility of things not seen.
1996
Xavier Hufkens, Brussels, Belgium. Au bout des levres.
Sous Sol, Geneva, Switzerland. Rouen: Touring Machines, Intermittent Futures.
1994
Statengalerie, Den Haag, The Netherlands. Rouen: Touring Machines, Intermittent Futures.
1993
Presentation House, Vancouver, Canada. imagination, dead imagine, Model for Stage and Screen.
Galería MOPT, Madrid, Spain. The Work of the Forest.
1992
The Renaissance Society, Chicago, Illinois. imagination, dead imagine, Model for Stage and Screen.
De Appel, Amsterdam, The Netherlands. The Work of the Forest.
Rena Bransten Gallery, San Francisco, California. First and Third.
Fondation pour l’architecture, Brussels, Belgium. The Work of the Forest.
Musée des Beaux-Arts, Dunkerque, France. The Work of the Forest.
Palais Jacques Coeur, Bourges, France. The Work of the Forest.
1991
Nicole Klagsbrun, NYC, NY. imagination, dead imagine.
Institute of Contemporary Art, London, England. Public Fantasy.
Riverside Studios, London, England. In Other Words.
1989
Galerie Xavier Hufkens, Brussels, Belgium. Echo/In the Shadow of the City…vamp r y.
Real Art Ways, Hartford, Connecticut. Adam’s Wish.
MATRIX, University Art Museum, Berkeley, California. Maelstrom.
Washington Project for the Arts, Washington, DC. In the Shadow of the City…vamp r y.
1988
Douglas Hyde Gallery, Dublin, Ireland. Echo/In the Shadow of the City…vamp r y.
1987
COCA, Center on Contemporary Art, Seattle, Washington. COCA Natural Foods Pavilion.
1986
Museum of Modern Art, NYC, NY. Echo.
New Langton Arts, San Francisco, California. In the Shadow of the City…vamp r y.
1985
Times Square Spectracolor Board, NYC, NY. Change the Zoning Laws.
1984
De Appel, Amsterdam, The Netherlands. Mass Fantasies/Special Cultures.
1982
Whitney Museum of American Art, NYC, NY. Ideology/Praxis.
University Art Museum, Berkeley, California. Casual Shopper/They Agape.
International Cultural Center, Antwerp, Belgium. Space Invaders.
1980
Museum of Modern Art, NYC, NY. Video Viewpoints.
1978
San Francisco Museum of Modern Art, San Francisco, California. Kaleidoscope.
1977
La Mamelle Gallery, San Francisco, California. Cup/Couch.
80 Langton Street, San Francisco, California. PastPresentFutureTense.
SELECTED GROUP SHOWS
2018
Institute of Contemporary Art, Boston, Massachusetts. Art in the Age of the Internet, 1989 to Today.
2017
Ludlow 38, NYC, NY. Exhibition as Image: Art Through the Camera's Eye.
2015
Waterside Contemporary, London, England. Nascent States.
2014
Hammer Museum, Los Angeles, California. Take It or Leave It: Institution, Image, Ideology.
2012
Kassel, Germany. dOCUMENTA (13).
MACBA, Museu d'Art Contemporani de Barcelona, Barcelona, Spain. Critical Episodes, 1957-2011.
Institute of Contemporary Art, Boston, Massachusetts. This will have been: Art, Love & Politics in the 1980s.
The Drawing Center, NYC, NY. In Deed: Certificates of Authenticity in Art.
The Walker Art Center, Minneapolis, Minnesota. This will have been: Art, Love & Politics in the 1980s.
Printed Matter, NYC, NY. Help/Less.
Photography Society, Sharjah, United Arab Emirates.
Institute of Contemporary Art, London, England. Remote Sensing.
Museum of Contemporary Art, Chicago, Illinois. This will have been: Art, Love & Politics in the 1980s.
Centre d’Art Contemporain, Geneva, Switzerland. The Living We Are In.
Contemporary Arts Museum Houston, Houston, Texas. The Deconstructive Impulse.
MUMOK, Museum Moderner Kunst Stiftung Ludwig Wien, Vienna, Austria. Voice off.
2011
Museum of Contemporary Art, Los Angeles, California. Under the Big Black Sun, 1974-1981.
Neuberger Museum, Purchase, New York. The Deconstructive Impulse.
Sharjah Biennial 10, Sharjah, United Arab Emirates. Plot for a Biennial.
Kunsthall Brennabor, Brandenburg, Germany. Territorium der Frau in der Visuellen Kunst und der Femnine vorstellungskraft.
MACBA, Museu d'Art Contemporani de Barcelona, Barcelona, Spain. Are You Ready For TV?.
Centro Galego de Arte Contemporanea, Santiago de Compostela, Spain. Are You Ready For TV?.
De Vleeshal, Middleburg, The Netherlands. In Deed: Certificates of Authenticity in Art.
Nasher Museum of Art, Durham, North Carolina. The Deconstructive Impulse.
Centre d’Art Santa Mònica, Barcelona, Spain. TV/ARTS/TV.
2010
Centre Georges Pompidou, Paris, France. Voir/Revoir.
Museo Universitario Arte Contemporáneo, Mexico City, Mexico. Wandering Positions: Selections from the InSite Archive.
Kölnischer Kunstverein, Cologne, Germany. Forbidden Love – Verbotene Liebe: Kunst im Sog von Fernsehen.
MUMOK, Museum Moderner Kusnt Stiftung Ludwig Wien, Vienna, Austria. Changing Channels — Kunst und Fernsehen 1963-1987.
Centro de Arte Dos De Mayo, Móstoles, Spain. Sonic Youth, etc.: Sensational Fix.
Museo Extremeño e Iberoamericano de Arte Contemporáneo, Badajoz, Spain. Ulysses Fascination.
Fondazione Giuliani per l’arte Contemporanea, Rome, Italy. e-flux video rental.
Tenerife Espacio de las Artes, Santa Cruz de Tenerife, Spain. Neuva Tripulación para el ‘Pequod’.
ZKM, Zentrum für Kunst und Medientechnologie, Karlsruhe, Germany. fast forward 2: The Power of Motion – Media Art.
2008
Cisneros Fontanals Art Foundation, Miami, Florida. The Prisoner’s Dilemma: Selections from the Ella Fontanals-Cisneros Collection.
Fundação Carmona e Costa, Lisbon, Portugal. Aquilo Sou Eu.
Whitney Museum of Art, NYC, NY. Paul McCarthy: Film List.
Museum of Contemporary Art, North Miami, Florida. Sympathy for the Devil.
Centro Foundation Gulbenkian, Lisbon, Portugal. E-flux touring video show.
MACBA, Museu d’Art Contemporani de Barcelona, Barcelona, Spain. Time As Matter.
Malmö Konsthall, Malmö, Sweden. Sonic Youth, etc.: Sensational Fix.
Museum of Modern Art, NYC, NY. Looking at Music: Side 2.
Hessel Art Museum, Annadale-on-Hudson, New York. Some cases up for review.
2007
Musée d’Art Moderne de la Ville de Paris, Paris, France. Playback.
Museum of Contemporary Art, Chicago, Illinois. Sympathy for the Devil.
Centre Cultural Suisse, Paris, France. E-flux touring video show.
Getty Center, Los Angeles, California. Body of Evidence.
2006
Santa Monica Museum of Art, Santa Monica, California. Dark Places: Mapping Enigma.
Whitechapel Art Gallery, London, England. Performance, Part 3.
Center for Contemporary Art, Antwerp, Belgium. Extra City.
Műcsarnok Kunsthalle, Budapest, Hungary. E-flux touring video show.
Whitechapel Art Gallery, London, England. A Short History of Performance IV.
Queens Museum of Art, Queens, New York. Queens International.
2005
New Museum, NYC, NY. East Village USA.
ZKM, Zentrum für Kunst und Medientechnologie, Karlsruhe, Germany. Phonorama.
The Netherlands Media Art Institute, Amsterdam, The Netherlands. Resonance, Contemporary Performance Art.
Museum of Contemporary Art, Los Angeles, California. Visual Music.
Hirshhorn Museum and Sculpture Garden, Washington, DC. Visual Music.
Salamanca Contemporary Art Centre, Salamanca, Spain. Baroque and Neo-baroque.
2004
Museum Het Domein, Maastricht, The Netherlands. The Museum in Motion.
Cordoaria Nacional, Lisbon. Portugal. Horizont(e).
Art Institute of Boston, Boston, Massachusetts. Breathtaking.
2003
Secession, Vienna, Austria. Fate of Alien Modes.
2002
ZKM, Zentrum für Kunst und Medientechnologie, Karlsruhe, Germany. Future Cinema.
Provinciaal Centrun Boor Beeldende Kunsten, Hasselt, Belgium. Notorious.
International Center of Photography, NYC, NY. Aftermath: Photography in the Wake of 9/11.
Exit Art, NYC, NY. Reactions.
The Contemporary, Baltimore, Maryland. The Big Picture.
Moderna Museet, Stockholm, Sweden. Performing Bodies.
2001
8th International Cairo Biennale, Cairo, Egypt.
Generali Foundation, Vienna, Austria. Shopping.
Tokyo Opera City Art Museum, Tokyo, Japan. Notorious.
National Museum of Modern Art, Kyoto, Japan. Notorious.
MACBA, Museu d'Art Contemporani de Barcelona, Barcelona, Spain. Antagonisms.
The Contemporary Museum, Baltimore, Maryland. Endurance: The Information.
2000
La Biennale di Venezia, Venice, Italy.
Tate Modern, London, England. Performing Bodies.
Musée des Beaux-Arts de Nantes, Nantes, France. Vision Machine.
MoMA PS1, Long Island City, New York. Around 1984.
Russian Museum, Saint Petersburg, Russia. Cross Currents.
Massachusetts Museum of Contemporary Art, North Adams, Massachusetts. Off the Shelf.
Art Gallery of Hamilton, Hamilton, Ontario. Notorious: Alfred Hitchcock and Contemporary Art.
1999
Le Fresnoy, Tourcoing, France. Voices.
Museum of Contemporary Art, Sydney, Australia. Notorious: Alfred Hitchcock and Contemporary Art.
1998
Witte de With, Rotterdam, The Netherlands. Voices.
Fundació Joan Miró, Barcelona, Spain. Voices.
Wexner Center for the Arts, Columbus, Ohio. Body Mecanique.
Instituto de América, Santa Fe, Spain. Pasajes de la Coleccion.
1997
Fundacion “la Caixa” San Esteban, Murcia, Spain. Coleccion de arte contemporaneo.
Henry Art Gallery, Seattle, Washington. Between Lantern and Laser.
Palazzo delle Esposizioni, Rome, Italy. Hall of Mirrors.
Museum of Contemporary Art, Chicago, Illinois. Hall of Mirrors.
1996
Museum of Contemporary Art, Los Angeles, California. Hall of Mirrors: Art and Film since 1945.
Wexner Center for the Arts, Columbus, Ohio. Hall of Mirrors: Art and Film since 1945.
Cleveland Museum of Art, Cleveland, Ohio. Urban Evidence.
1995
Museum of Modern Art, NYC, NY. Video Spaces: Eight Installations.
Yale University Art Gallery, New Haven, Connecticut. Reinventing the Emblem.
American Fine Arts, NYC, NY. Mapping.
1994
22nd São Paolo Art Biennial, São Paolo, Brazil.
Thread Waxing Space, NYC, NY. Crash: Nostalgia for the Absence of Cyberspace.
Fundacio “la Caixa” Centre Cultural, Barcelona, Spain. Entre la Presència i la Representacio.
Centro Cultural de Belém, Lisbon, Portugal. Multiple Dimensions.
Thread Waxing Space, NYC, NY. Don’t Look Now.
Kunstraum der Universität Lüneburg, Lüneburg, Germany. Services.
1993
L’Usine Fromage, Rouen, France. Le Génie du Lieu.
Museum of Contemporary Art, Antwerp, Belgium. On taking a normal situation and retranslating it into overlapping and multiple readings of conditions past and present.
Ferme Les Buissons, Paris, France. Transpositions.
Indianapolis Center for Contemporary Art, Indianapolis, Indiana. Public Figure.
Kunsthal Rotterdam, Rotterdam, The Netherlands. Air Alexander.
1992
Parrish Art Museum, Southampton, New York. A Museum Looks at Itself.
Jan Van Eyck Academy, Maastricht, The Netherlands. Place, Public, Presentation, Position.
1991
Hayward Gallery, London, England. Outer Space.
Fundación Caja de Pensiones, Madrid, Spain. The Savage Garden.
1990
New Museum, NYC, NY. Rhetorical Image.
Le Consortium, Dijon, France. Le Choix des Femmes.
1989
Museum of Contemporary Art, Los Angeles, California. A Forest of Signs.
1988
World Financial Center, NYC, NY. The New Urban Landscape.
La Biennale di Venezia, Venice, Italy. Aperto.
Whitney Museum of American Art, NYC, NY. Maelstrom: Max Laughs.
1987
Whitney Museum of American Art, NYC, NY. Whitney Biennial.
Riverside Studios, London, England. Between Echo and Silence.
1986
Mercer Union, Toronto, Canada. Dark/Light.
New Museum, NYC, NY. Damaged Goods.
1985
Long Beach Museum, Long Beach, California. A Passage Repeated.
New Museum, NYC, NY. The Art of Memory/The Loss of History.
Aorta, Amsterdam, The Netherlands. Cover/Double.
Artist Space, NYC, NY. In the Shadow of the City…vamp r y.
1984
Western Singel Galerie, Rotterdam, The Netherlands. Con Rumor.
1983
Institute of Contemporary Art, London, England. Scenes and Conventions – Artists’ Architecture.
1982
Galerie Rüdiger Schöttle, Munich, Germany. Godard/Barry,Knight/Graham.
Eaton Schoen Gallery, San Francisco, California. Critic’s Choice.
1980
Contemporary Art Center, New Orleans, Louisiana. A Decade of Women in Performance Art.
SELECTED BIBLIOGRAPHY
Wilson, Michael, Judith Barry, TIME OUT NEW YORK, 19-25 July 2017, p. 61.
Morris, Susan, Judith Barry's "Imagination, Dead Imagine" references horror films and J.G. Ballard, THE ARCHITECT'S NEWSPAPER, 7 July 2017.
Staff, Judith Barry, THE NEW YORKER, 26 June 2017, p. 10.
Geers, David, Judith Barry, FRIEZE.COM, 20 June 2017.
Schwendener, Martha, Dis-play/Re-play, THE NEW YORK TIMES, 25 August 2016.
Curtis, Tyler, Dis-play/Re-play, ARTFORUM, July 2016.
Garba, Gabe, The Future of Institutional Critique, GRAPHITE, 18 May 2014.
Ochi, Paula, Conversation with Judith Barry, ARTBLITZLA, 5 May 2014.
Singerman, Howard, US Art Museum Exhibitions, ARTFORUM, 11 March 2014.
Woodward, Richard B., Culture War Holdout, WASHINGTON POST, 11 March 2014.
Smee, Sebastian, The Art of the 80s, BOSTON GLOBE, 15 November 2012.
Cotter, Holland, Works That Play With Time, THE NEW YORK TIMES, 1 November 2012.
Meade, Fionn, Documenta 13, SPIKE, September 2012.
Kholeif, Omar, …Cairo Stories by Judith Barry, PORTAL 9, Autumn 2012.
Latimer, Quinn, Documenta 13, ART AGENDA, 9 June 2012.
Feldman, Hannah, This Will Have Been: Art, Love & Politics in the 1980s, ARTFORUM, June 2012.
Kholeif, Omar, …Cairo Stories: Judith Barry Interviewed by Omar Kholeif, ART MONTHLY, December-January 2012.
Higgie, Jennifer, Sharjah Biennial, FRIEZE, June-August 2011.
Moyer, Carrie, The Deconstructive Impulse: Women Artists Reconfigure Signs of Power 1973-91, ART IN AMERICA, May 2011.
Lauf, Cornelia, Judith Barry Review: Body Without Limits, ART IN AMERICA, June/July 2010.
Newman, Michael, 100 Video Artists: Judith Barry, EXIT, 2010.
Draxler, Helmut, Ambivalence and Actualization: Exhibition design as artistic practice, TEXTE ZUR KUNST, December 2008.
Balmisa, Alberto Sanchez, Entrevista con Judith Barry, EXIT EXPRESS, May 2008.
Rebollar, Monica, El Espacio como espejo/the space as mirror, LAPIZ, May 2008.
Lowenstein, Kate, Queens International: Everything all at once, TIME OUT NEW YORK, 11-17 January 2007.
Schwendener, Martha, Art From Everywhere, All From Queens, THE NEW YORK TIMES, 15 December 2006.
Pagel, David, Competing for Attention: Dark Places at the Santa Monica Museum, LOS ANGELES TIMES, 2 February 2006.
Yablonsky, Linda, It took a Village, TIME OUT NEW YORK, 6-12 January 2005.
Smith, Roberta, Looking back at the flurry on the far side, THE NEW YORK TIMES, 10 December 2004.
Harris, Larissa and Eva Scharrer, No Development, Just Repetition, NEUE REVIEW, March 2004.
Miskell, Brad, The Human Condition, ARTNET.COM, 25 August 2004.
Fernandez, Carmen, El imaginario granadino de Judith Barry, EL MUNDO, 2 June 2003.
Vozmediano, Elena, La fantasia granadina de Judith Barry, EL MUNDO, 22-28 May 2003.
Rimanelli, David, Time Capsules: Notable Exhibitions 1986-1990, ARTFORUM, April 2003.
Wollen, Peter, Thought Experiments, PARKETT, 2001.
Pagel, David, Entering a Dream State with Judith Barry’s Video Installations, LOS ANGELES TIMES, 22 December 2000.
Huitorel, Jean-Marc, Vision Machine, ARTPRESS, October 2000.
Wallis, Brian, Judith Barry, NEWSLINE, Spring 1999.
Knight, Christopher, inSITE, Outta Sight, LOS ANGELES TIMES, 4 October 1997.
Smith, Roberta, Art, Film and Their Brilliant, Messy Union, THE NEW YORK TIMES, 7 April 1997.
Fraser, Andrea, Services: Working Group Discussions. OCTOBER, Spring 1997.
Smith, Roberta, Finding Art in the Artifacts of the Masses, THE NEW YORK TIMES, 1 December 1996.
Drobnick, Jim, Interrogating the Ideologies of Technology: An Interview with Judith Barry, PARACHUTE, October/November/December 1996, pp. 20-24.
Phillips, Christopher, Show Business, GUGGENHEIM MAGAZINE, Fall 1996.
Avgikos, Jan, Rauschenberg’s Cyborgs, SCULPTURE, May/June 1996, pp. 24-29.
Mc Kenna, Kristine, Projections and Reflections, LOS ANGELES TIMES, 17 March 1996.
Heartney, Eleanor, Video in Situ, ART IN AMERICA, October 1995, pp. 94-99.
Brayer, Marie-Ange, Projects and Projections of Space, ARTPRESS, June 1994, pp. 22-29.
Gintz, Claude, Judith Barry, FORUM INTERNATIONAL, May-August 1993, pp. 90-93.
Morse, Margaret, The Body in Space, ART IN AMERICA, April 1993, pp. 116-121, 143.
Benjamin, Andrew, Installation Art, ART & DESIGN PROFILE, March-April 1993.
Kaplan, Ann E., Feminism(s) Postmodernism(s): MTV and Alternate Women’s Videos and Performance Art, WOMEN AND PERFORMANCE, 1993.
Drucker, Johanna, Simulation/Spectacle – Beyond the Boundaries of the Old Avant-Garde and Exhausted Modernism, THIRD TEXT, Spring 1993, pp. 3-16.
Canogar, Daniel, Vampires Never Die, LAPIZ, October 1992, pp. 22-31.
Drucker, Johanna, Spectacle & Subjectivity, ARTSCRIBE, March/April 1991.
Schwabsky, Barry, Architecture of the Gaze: An Interview with Judith Barry, ARTS MAGAZINE, Summer 1989.
Schwabsky, Barry, Spotlight: Non in Codice, FLASH ART, January/February 1988.Wallis, Brian, Questioning Documentary, APERTURE, Fall 1988.
Fisher, Jean, The Vampiric Text, PARKETT, Fall 1987.
Morse, Margaret, Video Works by Judith Barry, AFTERIMAGE, October 1987.
Lehman, Peter, “Video Art, Video Games,” Interview with Judith Barry, WIDE ANGLE, March 1984.
