BORTOLAMI
Morgan Fisher (b. 1942 in Washington, D.C.) Lives and works in Los Angeles, California
Education
1960-64 Harvard College, B.A. in Fine Art 1964-65 University of Southern California, work toward M.A. in Cinema 1965-66 University of California, Los Angeles, work toward M.F.A. in Motion Picture Division, Department of Theater Arts
Selected Solo and Two Person Exhibitions / Screenings
2019 Kenneth Anger/Morgan Fisher, curated by Drew Heitzler, Slash, San Francisco, CA 2018 Morgan Fisher / Passing Time, Gallery at REDcat, Los Angeles, CA 6 x 6 x 6 x 2, Bortolami, New York, NY 2016 Screening Room, Bortolami, New York, NY Past Future Housing - Morgan Fisher / Karina Nimmerfall, MAK Center, Los Angeles, CA Morgan Fisher’s Phi Phenomenon + Newsreel’s Community Control, Light Industry, Brooklyn, NY 2015 Negative Film Boxes, Bortolami, New York, NY 2014 International Art Objects, Los Angeles, CA Maureen Paley, London, United Kingdom 2013 Interior Color Beauty, Bortolami, New York, NY 2012 Conversations, Aspen Art Museum, Aspen, CO The Frame Beyond, Generali Foundation, Vienna, Austria 2011 Museum Abteiberg, Mönchengladbach, Germany Morgan Fisher: Films and Paintings and In Between and Nearby, Raven Row, London, United Kingdom New Works: Photographs and Works on Paper, Bortolami Gallery, New York, NY 2010 Missing – An Evening with Morgan Fisher, Piet Zwart Institute, Rotterdam, Netherlands Works on Paper 1968-2008, Galerie Daniel Buchholz, Cologne, Germany 2009 Portikus Looks at Itself, curated by Melanie Ohnemus, Portikus, Frankfurt am Main, Germany 2008 Alien Pendant Pair Paintings, China Art Objects Galleries, Los Angeles, CA Art Unlimited, Galerie Daniel Buchholz, Art Basel, Basel, Switzerland
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2007 Pendant Pair Paintings, Galerie Daniel Buchholz, Cologne, Germany 2006 Standard Gauge: Film Works by Morgan Fisher, 1968 – 2003, curated by Chrissie Iles, Museum of Contemporary Art, Los Angeles, CA 2005 Standard Gauge: Film Works by Morgan Fisher, 1968-2003, Whitney Museum of American Art, New York, NY Standard Gauge: The Films of Morgan Fisher, film screening, Tate Modern, London, United Kingdom Scratched Aspect Ratio Pieces, China Art Objects Galleries, Los Angeles, CA Edge and Corner Paintings, Adamski Galerie, Aachen, Germany Morgan Fisher / Thom Andersen, film screening, Kölnischer Kunstverein, Cologne, Germany 2004 ( ) / Film Cans and Film Boxes, Galerie Daniel Buchholz, Cologne, Germany Aspect Ratio Pieces, ( ), Greene Naftali, New York, NY ( ), Cubitt, London, United Kingdom ( ), film screening (with Sharon Lockhart), Kino Arsenal, Internationales Forum des jungen Films / Berlinale, Berlin, Germany Filmforum, Los Angeles, CA Städelschule, Frankfurt, Germany 2002 To See Seeing, NAK - Neuer Aachener Kunstverein, Aachen, Germany Photogenic Drawings / Color Balance, Galerie Daniel Buchholz, Cologne, Germany The Italian Paintings, Self-Portraits, China Art Objects Galleries, Los Angeles, CA Pacific Title and Art Studio, Hollywood, China Art Objects Galleries, Los Angeles, CA 2000 Kunstverein Hamburg, Hamburg, Germany The Italian Paintings, presented by Dave Muller, Los Angeles County Museum of Art, Los Angeles, CA 1998 Künstlerhaus Stuttgart, Stuttgart, Germany Film screening at the cinema of the British Council, Galerie Daniel Buchholz, Cologne, Germany Österreichisches Filmmuseum, Vienna, Austria 1989 Series ‘The New Avant-Garde,’ University of Rochester, Rochester, NY 1986 International Forum of Young Cinema, Berlin International Film Festival, Berlin, Germany University Gallery of Fine Art, Ohio State University, Ohio 1985 The Collective for Living Cinema, New York, NY San Francisco Cinematheque, San Francisco, CA Pacific Film Archive, Berkeley, CA 1981 Color Balance, P.S. 1, Long Island City, New York, NY
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1980 Color Balance, Media Study, Buffalo, NY Film as Installation, The Clocktower, New York, NY 1979 Boston Film/Video Foundation, Boston, MA Art School, California Institute of the Arts, Valencia, CA Department of Photography and Film, Ohio State University, Columbus, OH Art Program, School of Art, California Institute of the Arts, Valencia, CA 1978 Collective for Living Cinema, New York, NY 1976 Museum of Art, Carnegie Institute, Pittsburgh, PA Albright-Knox Art Gallery, Buffalo, NY San Francisco Museum of Art, San Francisco, CA Anthology Film Archives, New York, NY Museum of Modern Art, New York, NY 1975 Pacific Film Archive, Berkeley, CA San Francisco Art Institute, San Francisco, CA Series ‘The Very Eye of Light. A Primer in the Experimental Film,’ Vancouver Art Gallery, Vancouver, Canada Pacific Cinematheque in collaboration with the Vancouver Art Gallery, Vancouver, Canada Canyon Cinematheque, San Francisco, CA 1974 Pratt Institute, Brooklyn, NY 1973 Millennium Film Workshop, New York, NY School of the Art Institute, Chicago, IL Independent Film Festival, National Film Theater, London, United Kingdom 1972 Film Section, Massachusetts Institute of Technology, Cambridge, MA 1970 Department of Theater Arts, UCLA, Los Angeles, CA
Selected Group Exhibitions
2017 Truth: 24 frames per second, Dallas Museum of Art, Dallas, TX in awe, Kunsthalle Exnergasse, Vienna, Austria, curated by Melanie Ohnemus Picture Industry, Hessel Museum of Art, Annandale-On-Hudson, NY, curated by Walead Beshty Portikus XXX, Portikus, Frankfurt am Main, Germany, curated by Franz Hempel & Fabian Schöneich 2016 A Month of Sundays, Taylor Macklin, Zurich, Switzerland, curated by Clément Delépine Daniel Buren. A Fresco, Bozar Center for Fine Arts, Brussels, Belgium
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Ordinary Pictures, Walker Art Center, Minneapolis, MN 2015 America is Hard to See, Inaugural Exhibition, Whitney Museum of American Art, New York, NY Apparition: Frottages and Rubbings from 1860 to Now, Hammer Museum, Los Angeles, CA and The Menil Collection, Houston, TX 2014 Whitney Biennial, Whitney Museum of American Art, New York, NY A Machinery for Living, curated by Walead Beshty, Friedrich Petzel Gallery, New York, NY Waywords of Seeing, Le Plateau, Paris, France 2013 T.J. Wilcox: In the Air, Whitney Museum of American Art, New York, NY 2012 Made in L.A 2012, Hammer Museum, Los Angeles, CA 2011 Films by Richard Serra, Morgan Fisher, and Anthony McCall, The Artist’s Institute, New York, NY 2010 Richard Telles Fine Art, Los Angeles, CA Monochrome Reflections, haubrokshows, Berlin, Germany rogalski, Haubrok Shows, Berlin, Germany 2009 Aspect Ratio, TENT, section of ‘Size Matters,’ curated by Edwin Carels, Rotterdam International Film Festival, Rotterdam, Netherlands Protective Coloration, curated by Niko Vicario, Center for Curatorial Studies, Bard College, Annandale-on-Hudson, NY See This Sound, Lentos Kunstmuseum Linz, Linz, Austria Quodlibet II, Galerie Daniel Buchholz, Cologne, Germany 38th International Film Festival Rotterdam, Rotterdam, Netherlands Fax, The Drawing Center, New York, NY 1999, China Art Objects Gallery, Los Angeles, CA Restoring the Los Angeles Avant-Garde, La Filmforum, Los Angeles, CA Collecting History: Highlighting Recent Acquisitions, curated by Bennett Simpson, Museum of Contemporary Art, Los Angeles, CA Daily Film Program in conjunction with ‘See This Sound; Promises in Sound and Vision,’ curated by Cosima Rainer, Lentos Kunstmuseum Linz, Linz, Austria (catalogue) Artists’ Cinema, in conjunction with ‘But what of Frances Stark, standing by itself, a naked name, bare as a ghost to whom one would like to lend a sheet?’ and ‘David Hockney, 1960– 1968: A Marriage of Styles,’ curated by Alex Farquharson, Nottingham Contemporary, Nottingham, England 2008 Neutre Intense-Mitim, Maison populaire-Centre d’art Mira Phalaina, Montreuil, France You, Whose Beauty Was Famous in Rome, Mandarin Gallery, Los Angeles, CA To Square Light, Signal – Center for Contemporary Art, Malmö, Sweden Zuordnungsprobleme, Johann König, Berlin, Germany Standard Sizes, Andrew Kreps Gallery, New York, NY
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Please Stay Out, We’re Open, Redling Fine Art, Los Angeles, CA Haubroksshow, Sammlung Haubrok, Berlin, Germany Neutre Intense-( ), Carl Freedman Gallery, London, United Kingdom Index: Conceptualism in California from the Permanent Collection, curated by Phillip Kaiser and Corrina Peipon, Museum of Contemporary Art, Los Angeles, CA California Biennial, curated by Lauri Firstenberg, Orange County Museum of Art, Newport Beach, CA (catalogue) 2007 Internationale Kurzfilmtage Oberhausen, Oberhausen, Germany Monochrome Painting, Cardwell Jimmerson, Culver City, CA 2006 Galerie Daniel Buchholz Cologne at Metro Pictures, Metro Pictures, New York, NY Los Angeles 1955-1985, Centre Pompidou, Paris, France Program of films presented by Christopher Williams as an artist in the Whitney Biennial, Whitney Museum of American Art, New York, NY Blows into Microphone, curated by Achim Lengerer, Kunsthalle Exnergasse, Vienna, Austria (catalogue), presented at Wiener Votivkino, Vienna; later presented at the Deutsches Filmmuseum, Frankfurt, Germany The Artists Cinema, Frieze Art Fair, Regent’s Park, London, United Kingdom Expanded Cinema I, film program curated by Patrick Huber and Fred Truniger in conjunction with the show ‘The Expanded Eye,’ curated by Bice Curiger, Kunsthaus Zürich, Zürich, Switzerland Bunch Alliance and Dissolve, curated by Public-Holiday Project, Contemporary Arts Center, Cincinnati, OH 2005 Beside the Dream Machine, Museum Moderner Kunst, Vienna, Austria A Walk to Remember, curated by Jens Hoffman, LACE (Los Angeles Contemporary Exhibitions), Los Angeles, CA (catalogue) Old News, curated by Jacob Fabricius, LACE, Los Angeles, CA Gallery exchange, China Art Objects Galleries and Bowie Van Valen, Amsterdam, Netherlands Bienal de Lisboa, curated by Ricardo Matos Cabo, Lisbon, Portugal 2004 Whitney Biennial, Whitney Museum of American Art, New York, NY 2003 Turbulent Screen, Edith-Ruß-Haus für Medienkunst, Oldenburg, Germany Fate of Alien Modes, Secession, Vienna, Austria Morgan Fisher and Mason Cooley, China Art Objects Galleries, Los Angeles, CA Sandwiched, curated by Jacob Fabricius, Los Angeles, CA Conceptualisms: Zeitgenössische Tendenzen in Musik, Kunst und Film, curated by Christoph Metzger, Akademie der Künste, Berlin, Germany 2002 Sie träumt von ihrem Lieblingsstar. Er spricht mit einer fremden Sprache. Vier Räume aus der Sammlung Schürmann, Sammlung Schürmann, K21 Kunstsammlung im Ständehaus, Düsseldorf, Germany
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Morgan Fisher, Tomma Abts, Leica Dole-Recio, James Hayward, curated by Richard Hawkins, Galerie Daniel Buchholz, Cologne, Germany A Show That Will Show That a Show Is Not Only a Show, curated by Jens Hoffman, The Project, Los Angeles, CA (catalogue) 2001 Frances Stark meets Morgan Fisher, Klosterfelde, Berlin, Germany 2000 The Italian Paintings, Dave Muller/Three Day Weekend, in ‘Made in California: Now,’ LACMA, Los Angeles, CA Galerie Daniel Buchholz at Jürgen Becker, Hamburg, Germany Not Coming, produced by Side Street Projects, Laemmle Grande Theaters, Los Angeles, CA 1999 Afterimage: Drawing Through Process, Museum of Contemporary Art, Los Angeles, CA A History of European Cinema through Technical Evolution, Festival dei Popoli, Florence, Italy The American Century: Art and Culture 1950-2000; The Cool World: Film and Video in America 1950-2000, Whitney Museum of American Art, New York, NY Thanks, visiting faculty show, School of Art, California Institute of the Arts, Valencia, CA 1998 Time Dilates, Dave Muller/Three Day Weekend, The Downtown Arts Festival, New York, NY 1997 Threshold, Side Street Projects, Santa Monica, CA 1996 Projections, produced by Side Street Projects, AMC Old Pasadena Theaters, Pasadena, CA 1995 Inaugural Film Screening, ACME, Gallery, Santa Monica, CA Reconsidering the Object of Art: 1965-1975, The Museum of Contemporary Art, Los Angeles, CA 23 Short Films / 23 Film Posters, a show of and by Maria Eichhorn, Galerie Eva Presenhuber, Zürich, Switzerland 1994 Scratching the Belly of the Beast; Cutting-Edge Media in Los Angeles, 1922-1994, Filmforum, Los Angeles, CA Detours, Side Street Projects, (group show), painting installation, Santa Monica, CA Color This!, coloring book with drawings by Los Angeles artists, Foundation for Art Resources, Los Angeles, CA 1993 Fade to Black, Eldorado Centrum voor Beeldcultuur, Antwerp, Belgium Robert Flaherty Seminar, Ithaca, New York, NY Stichting Amsterdams Filmhuis, Amsterdam, Netherlands 1991 Faculty show, School of Art, California Institute of the Arts, Valencia, CA 1990 Retrospective of American Independent Films of the 1980s, Mostra internazionale del nuovo cinema, Pesaro, Italy Beyond Illusion: American Film and Video Art, 1965-1975, in conjunction with ‘The New
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Sculpture, 1965-1975: Between Geometry and Gesture,’ Whitney Museum of American Art, New York, NY Metamedia, in conjunction with ‘Image World: Art and Media Culture,’ Whitney Museum of American Art, New York, NY 1989 What’s Wrong with These Pictures?, retrospective (with George Landow), The American Museum of the Moving Image, New York, NY 1988 Mot : dites, image, Musée National dʼArt Moderne, Centre Pompidou, Paris, France Independent America; New Film 1978-1988, American Museum of the Moving Image, New York, NY 1987 Text as Image, Pacific Film Archive, Berkeley, CA 1985 Biennial Exhibition, Whitney Museum of American Art, New York, NY (Catalogue) New York Film Festival, New York, NY 1983 Word Works, Walker Art Center, Minneapolis, MN Film as Installation II, The Clocktower, New York, NY 1982 Ten Years of Living Cinema, Collective for Living Cinema, New York, NY (Catalogue) 1981 West Coast, Anthology Film Archives, New York, NY (Catalogue) American and French Independent Cinema, Padiglione d'arte contemporanea/Cineteca italiana, Milan, Italy (Catalogue) P.S. 1, Long Island City, NY 1980 The Pleasure Dome, American Experimental Film, 1939-1979, Moderna Museet, Stockholm, Sweden 1979 The New West, curated by Jack Goldstein, The Kitchen, New York, NY Re-Visions, (gallery leaflet), curated by John G. Hanhardt, Whitney Museum of American Art, New York, NY 1978 International Forum of Young Cinema, Berlin International Film Festival, curated by John G. Hanhardt, Berlin, Germany Frameworks, Water Street Branch, Whitney Museum of American Art, New York, NY Artists' Film, Artists Space, New York, NY 1977 The Poetic Eye: Perspectives on the American Independent Film, 1923-1977, Los Angeles County Museum of Art, Los Angeles, CA Time, Philadelphia College of Art, Philadelphia, PA (catalogue) The Moving Image/N.Y. State, Tour program organized by Gerald O’Grady, NY Film Spaces, Art Gallery, Mount San Antonio College, Walnut Creek, CA 1976
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Text and Image, New American Filmmakers Series, Whitney Museum of American Art, New York, NY Fisher/Serra/Shulman, New American Filmmakers Series, Whitney Museum of American Art, New York, NY Neue Avantgardefilme aus den USA, Werkstattkino, Munich, Germany 1975 Stills, New American Filmmakers Series, Whitney Museum of American Art, New York, NY Institute of Contemporary Art, London, United Kingdom 1974 Thom Andersen / Morgan Fisher, Theatre Vanguard, Los Angeles, CA 1973 Walker Art Center, Minneapolis, MN Independent Film Festival, National Film Theatre, London, United Kingdom 1970 Information, Museum of Modern Art, New York, NY (catologue) North American Filmmakers: At Home and Abroad, Tour program organized by the Film Department, Museum of Modern Art, New York, NY
Selected Group Screenings
2018 Another Movie; part of Point Counterpoint: Avant-Garde Film Scores, 1955-1973, Museum of Modern Art, New York, NY 2017 Acts without words, correspondence without a sender. From Morgan Fisher and Thom Andersen to Laida Lertxundi, Centre de Cultura Contemporània, Barcelona, Spain 2016 Optical Space; part of Dreamlands: Immersive Cinema and Art, 1905-2016; Whitney Museum of American Art, New York, NY 2015 Courtisane festival 2015: Notes on Cinema, Ghent, Belgium 2012 L’Art Devrait Être la Bande-Annonce du Futur …, in the cycle Cinéma Post-minimal, Centre Pompidou, Paris, France Tricky Poses and Taxing Conditions: Performance and Media, in Alternative Projections: Experimental Film in Los Angeles 1945–1980; part of Pacific Standard Time: Art in L.A. 1945–1980; Los Angeles Filmforum, Los Angeles , CA Material Concerns, in Alternative Projections: Experimental Film in Los Angeles 1945– 1980; part of Pacific Standard Time: Art in L.A. 1945–1980; Los Angeles Filmforum, Los Angeles , CA Was ist Film, Peter Kubelka’s cyclical program of the history of film, Austrian Film Museum, Vienna, Austria Morgan Fisher et affinités électives, Centre Pompidou, Paris. Part of Morgan Fisher: Un cinéma hors-champ?, Université Paris 8 Vincennes–Saint-Denis, Institut national d’histoire de l’art, and Centre Pompidou, Paris, France Screening Room: Morgan Fisher Programme, NFT2, British Film Institute Southbank, London , with the support of Raven Row, London, England Bright Ideas: Conceptual Art Films, in Alternative Projections: Experimental Film in Los
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Angeles 1945–1980; part of Pacific Standard Time: Art in L.A. 1945–1980; Los Angeles Filmforum, Los Angeles, CA Moving Pictures: Painting, Photography, Film, in Alternative Projections: Experimental Film in Los Angeles 1945–1980; part of Pacific Standard Time: Art in L.A. 1945–1980; Los Angeles Filmforum, Los Angeles, CA; presented at Echo Park Film Center The Alternative Projections Marathon!, in Alternative Projections: Experimental Film in Los Angeles 1945–1980; part of Pacific Standard Time: Art in L.A. 1945–1980; Los Angeles Filmforum, Los Angeles, CA; presented at Echo Park Film Center 2011 Industry Town: The Avant-Garde and Hollywood, in Alternative Projections: Experimental Film in Los Angeles 1945–1980; part of Pacific Standard Time: Art in L.A. 1945–1980; Los Angeles Filmforum, Los Angeles, CA The Artist’s Institute, New York, NY 2010 Standard Gauge + Hellzapoppin’, Light Industry, PARTICIPANT INC, New York, NY 2009 Aspect Ratio, Rotterdam International Film Festival, Rotterdam, Netherlands; curated by Edwin Carels ‘Restoring the Los Angeles Avant-Garde: Thom Andersen and Morgan Fisher,’ Hammer Museum, UCLA, Los Angeles, CA, co-presented with the UCLA Film and Television Archive and Los Angeles Filmforum; curated by Mark Toscano 2008 Los Angeles, in ‘Paul McCarthy: Film List,’ a series of programs of films and videos curated by Paul McCarthy to accompany his one-person show at the Whitney Museum of American Art, New York, NY Sunshine Noir in ‘Los Angeles: Eine Stadt im Film; A City on Film,’ a retrospective of the Viennale and the Austrian Film Museum, Vienna, Austria (catalogue); curated by Thom Andersen 2007 Kinomuseum, Oberhausen International Short Film Festival, Oberhausen, Germany (publication) 2006 Expanded Cinema: Film als Spektakel, Ereignis und Performance, Hartware Medien Kunst Verein, Dortmund, Germany (program also presented at Württembergischer Kunstverein Stuttgart); curated by Mark Webber 2005 Edinburgh International Film Festival, Edinburgh, Scotland Thom Andersen and Morgan Fisher, Galerie Daniel Buchholz, Cologne, Germany (presented at the Kölnischer Kunstverein, Cologne) 2004 Rotterdam International Film Festival, Rotterdam, The Netherlands International Forum of Young Cinema, Berlin International Film Festival, Berlin, Germany The Robert Flaherty Film Seminar, New York, NY Toronto International Film Festival, Toronto, Canada Athens International Film Festival, Athens, OH London International Film Festival, London, England 2003 Turbulent Screen; Die strukturelle Bewegung in Film und Video, Edith-Ruß-Haus für
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Medienkunst, Oldenburg, Germany; curated by Rosanne Altstatt and Ralf Sausmikat Views from the Avant–Garde, New York Film Festival, New York, NY; curated by Mark McElhatten and Gavin Smith 2001 Two Film Screenings Organized by Christopher Williams (Poster, Introductory Remarks and Film Screening) For the Exhibition, ʻIn Between Art and Architecture, Silver Screen Theater, Pacific Design Center/MAK Center for Art and Architecture, Los Angeles, CA 1999 A History of European Cinema through Technical Evolution, Festival dei Popoli, Florence, Italy 1995 Inaugural film screening, ACME. Gallery, Santa Monica, CA 1994 Scratching the Belly of the Beast; Cutting-Edge Media in Los Angeles, 1922-1994, Filmforum, Los Angeles, CA (catalogue) 1993 Fade to Black, Eldorado Centrum voor Beeldcultuur, Antwerp, Belgium The Robert Flaherty Film Seminar, New York, NY Stichting Amsterdams Filmhuis, Amsterdam, Netherlands 1992 Unknown Territories: American Independent Film, presented by Sixpack Film at the Vienna Film Theatre, Vienna, Austria 1990 Mostra internazionale del nuovo cinema, Pesaro, Italy 1998 INPUT 88 (International Public Television screening conference), Philadelphia, PA 1976 Neue Avantgardefilme aus den USA, Werkstattkino, Munich, Germany Institute of Contemporary Art, London, England 1974 Thom Andersen/Morgan Fisher, Theatre Vanguard, Los Angeles, CA 1973 Walker Art Center, Minneapolis, MN 1969 Oberhausen International Short Film Festival, Oberhausen, Germany
Bibliography
2018 Rebhandl, Bert. ‘Highlights from the 2018 Berlinale Film Festival,’ Frieze, February 2017 Fisher, Morgan and Barshee, Tenzing. ‘The Value of Rage,’ Terremoto, February (Issue 8) 2016 Korody, Nicholas. “Meditating on the ‘Past Future Housing’ of Los Angeles with Morgan Fisher and Karina Nimmerfall at the MAK Center, ”Archinect News”, May Musée Magazine (Issue no. 15, 2016): p. 384-385 2015
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Erika Balsom, ‘Morgan Fisher – Maureen Paley,’ Artforum, March, 2015, p 291 Maria Palacios Cruz, ‘Morgan Fisher’s ‘Past Present, Present Past,’’ artagenda.com, 22 January, 2015. ‘Morgan Fisher and Ivan Morley at Bortolami Gallery, New York,’ en.artmediaagency.com, 23 September 2015. 2014 Drew Sawyer, ‘Morgan Fisher’s Melancholic Modernism,’ aperture.org, 10 December, 2014. Sarah Elbaum, ‘Morgan Fisher, China Art Objects Galleries / Los Angeles,’ artillerymag.com, 4 March, 2014. Christopher Knight, ‘Morgan Fisher gets contemplative over color,’ latimes.com, 31 January, 2014. Christine Spines, ‘Explore the art of border crossing with Morgan Fisher: scholar, sculptor, filmmaker and conceptual artist,’ blogs.artcenter.edu, 24 March, 2014. 2013 Gabriele Girolamini, ‘AGAINST METHOD :: ANARCHIST THEORY,’ dromemagazine.com, 11 October, 2013. Diana Kamin, ‘Morgan Fisher: New York, at Bortoami,’ Art in America Online, December 3, 2013. Morgan Fisher at Aspen Art Museum, in ‘Exhibitions,’ Contemporary Art Daily (contemporaryartdaily.com), February 1, 2013. 2012 Morgan Fisher: Two Exhibitions, Sabine Folie and Susanne Titz, editors; exhibition catalogue; Vienna: Generali Foundation; Mönchengladbach: Museum Abteiberg; Cologne: Verlag der Buchhandlung Walther König, 2012; essays by Thom Andersen, Yve-Alain Bois, and Sabeth Buchmann and Rainer Bellenbaum; introductory essays by Sabine Folie and Susanne Titz; notes on the works by MF. ‘Über den Rahmen hinaus: Morgan Fisher,’ Der Kurier Online (Vienna), 1 March, 2012. Christoph Huber, ‘Ernste Kunst, nur leider sehr lustig,’ Die Presse (Vienna), 2 March, 2012. Brigitte Borchhardt-Birbaumer, ‘Auch Kunsttoast ist eckig,’ Wiener Zeitung Online, 21 March, 2012. Anne Katrin Feßler and Isabella Reicher, ‘Wahrnehmungsspezialist mit Blick fürs Jenseitige,’ Der Standard (Vienna), 6 April, 2012. Stefan Grissemann, ‘Warum tun Sie sich analoge Filmarbeit noch an, Mr. Fisher?’ Profil (Vienna), 7 May, 2012. Made in L.A. 2012, Anne Ellegood et al., editors; exhibition catalogue; Los Angeles: Hammer Museum; New York/London/Munich: Prestel, 2012. Christopher Knight, ‘The Hammer Biennial ‘Made in L.A. 2012’ Succeeds,’ Los Angeles Times, June 8, 2012. Enrico Camporesi, ‘Morgan Fisher: il film e il suo parergon’ (contro Michael Fried), Predella, No. 31, fall 2012; http://predella.arte.unipi.it Jean-Philippe Antoine, ‘De la Chinoise à la China Girl: Morgan Fisher, Standard Gauge, 1984,’ Philippe-Alain Michaud (dir.) Collection Films, Editions du Centre Pompidou, Paris, 2012, p. 265-280. Given as a lecture at the Pompidou on March 25, 2009. Yuki Higashino, ‘Morgan Fisher, Generali Foundation,’ cmagazine, Winter 2012. 2011 ‘Artefact Festival—The Emergence of Things;’ exhibition brochure; Louvain, STUK Arts Centre, 2011. Morgan Fisher: Films and Paintings and In Between and Nearby, Sue Haddon, editor; exhibition guide; London: Raven Row, 2011; essays by Christophe Gallois, Stuart
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Comer, and Alex Sainsbury; notes on the work in the exhibition by MF. Charlotte Bonham-Carter, ‘Morgan Fisher,’ Flash Art (May–June 2011). ‘Morgan Fisher,’ Curators’ Notebook, (July 7, 2011), available online at http://www.sculpture-center.org/exhibitionsCuratorsNotebook.htm ?year=2011 Simone Menegoi, ‘Displaced Reflections,’ Kaleidoscope, Issue No. 11, Summer 2011. Jori Finkel, ‘Aiming for a Wider Angle on Video Art,’ Los Angeles Times, July 7, 2011. State of Mind; New California Art circa 1970, Constance M. Lewallen and Karen Moss, editors; exhibition catalogue; Newport Beach: Orange County Museum of Art; Berkeley: University of California Berkeley Art Museum and Pacific Film Archive; Berkeley/Los Angeles/London: University of California Press, 2011; essays by Constance M. Lewallen, Karen Moss, Julia Bryan-Wilson, and Anne Rorimer. Locus Solus: Impressions of Raymond Roussel, François Piron and João Fernandes; exhibition catalogue; Madrid: Museo Nacional Centro de Arte Reina Sofía; Porto, Museu de Arte Contemporânea de Serralves; Madrid: Turner Ediciones, 2012; texts by François Piron and others. Morgan Fisher – Translations, Susanne Titz, editor; exhibition brochure; Mönchengladbach: Museum Abteiberg, 2011; foreword by Susanne Titz; notes on the work in the exhibition by MF. Dirk Richerdt, ‘Morgan Fisher im Abteiberg-Museum,’ Rheinische Post, 21 Oktober, 2011. 2010 Christiane Fricke, ‘Beobachten, wie Bilder entstehen,’ Handelsblatt (Düsseldorf), January 29, 2010. Georg Imdahl, ‘Die Leinwand und das Licht – Galerie Daniel Buchholz, Arbeiten von Willem de Rooij und Morgan Fisher,’ Kölner Stadt-Anzeiger, February 12, 2010. Sebastian Preuss, ‘Haubrokshows – Die Kunst der reinen Fläche,’ Berliner Zeitung, 4 Mai 2010. Le cinéaste comme théoricien. Pratique et théorie dans le cinéma d’avant-garde américain des années 1960 et 1970: les cas de Morgan Fisher et Thom Andersen María Palacios Cruz, Olivier Mignon, editor; Brussels: (SIC), 2010. Alchemy Box, Christophe Gallois, editor; exhibition catalogue; Nogent-sur-Marne: Maison d’Art Bernard Anthonioz, les Éditions de l’Œil, Montreuil, 2010; introductory essay by Xavier Franceschi, essay by Christophe Gallois. Martin Herbert, ‘Sunless,’ Frieze, Issue 135, November–December 2010. 2009 Grit Weber, ‘Auch jeden Ausnahme folgt einer Regel,’ Kaleidescope, January, 2009. Bianca Stigter, ‘Film heeft als doel de film te laten vergeten,’ NRC Handelsblad (Rotterdam), 24 January, 2009. Sandra Danicke, ‘So schön unperfekt,’ Frankfurter Rundschau, 31 January, 2009. Grit Weber, ‘Morgan Fisher,’ KunstBulletin,1 February, 2009. Michael Hierholzer, ‘Unten wie oben: Installation von Morgan Fisher im Portikus,’ Frankfurter Allgemeine Zeitung, 4 February, 2009. Hans-Jürgen Hafner, ‘Spieglein, Spieglein an der Wand,’ www.artnet.com, 3 March, 2009. Andrew Berardini, ‘2008 California Biennial,’ Frieze, Issue 121, March 2009. Thomas Amos, ‘Portikus Looks at Itself; Morgan Fisher hält der renomierten Frankfurter Ausstellungshalle den Spiegel vor,’ Bauwelt, 8/2009. Thom Andersen, ‘Pebbles Left on the Beach,’ Cinema Scope, Issue 38, Vol. 11, No. 1, Spring 2009. Eva Scharrer, Morgan Fisher in Reviews, Artforum, Vol. XLVII, Number 9, May 2009.
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Mark Toscano, program notes for Restoring the Los Angeles Avant–Garde: Thom Andersen and Morgan Fisher, The Hammer Museum, UCLA, May 27, 2009. Adventures of Perception; Cinema of Exploration: Essays/Interviews, Scott MacDonald, Berkeley: University of California Press, Berkeley/Los Angeles/London, 2009. See This Sound; Versprechungen von Bild und Ton / Promises in Sound and Vision, Cosima Rainer et al., editors; exhibition catalogue; Linz: Kunstmusum Linz, 2009. FAX, João Ribas, exhibition catalogue; New York: The Drawing Center and Independent Curators International, 2009. ‘Morgan Fisher Films,’ Stoffel Debuysere and María Palacios Cruz, Independent Film Show 9th Edition, Raffaella Morra, editor; screening series catalogue; Naples: e-m arts/fondazione morra, 2009. Size Matters, Edwin Carels, Catalogue; exhibition catalogue; Rotterdam: 38th International Film Festival Rotterdam, 2009. Kino aus zweiter Hand; Zur Ästhetik materieller Aneignung im Film und in der Medienkunst, Christa Blümlinger; Berlin: vorwerk 8, 2009. 2008 Andrew Berardini, ‘Please Stay Out, We’re Open,’ Picks, artforum.com, July 24, 2008. Federico Windhausen, ‘Selected Shorts,’ artforum.com/film, September 9, 2008. 2008 California Biennial, Karen Jacobson, editor; exhibition catalogue; Newport Beach: Orange County Museum of Art, 2008; essays by Lauri Firstenberg, Joshua Decter, and Rene Peralta; conversation between William E. Jones and MF. Christopher Knight, ‘Don’t Take It Lying Down; In a Far-Flung Show Biennial Artists Stand Up for Their Causes,’ Los Angeles Times, November 4, 2008. Christopher Knight, ‘Around the Galleries: Monochrome: The Color of Funny,’ Los Angeles Times, November 7, 2008. Sarah Lehrer-Graiwer, ‘Morgan Fisher,’ Picks, artforum.com, November 16, 2008. Neutre Intense, Christophe Gallois; exhibition catalogue; Montreuil: Maison Populaire, 2008. Los Angeles: Eine Stadt im Film; A City on Film; Eine Retrospektive der Viennale, Astrid Ofner and Claudia Siefen, editors; exhibition catalogue; Vienna: Schüren Verlags, 2008. Screening Room and Death, Kino Museum, Mike Sperlinger and Ian White, editors; Cologne: Walther König, 2008 2007 Kyle Bentley, Associative Property, Artforum, Vol. XLV, No. 6, February 2007. 2006 P. Adams Sitney, ‘Medium Shots: The Films of Morgan Fisher,’ Artforum, Vol. XLIV, No. 5, January 2006. Etc.; Projects arranged by Matt Keegan at Andrew Kreps Gallery, New York, 9/05–1/06, Matt Keegan, editor; exhibition and program catalogue; New York: Matt Keegan, 2006. A Walk to Remember, Jens Hoffman, editor; exhibition catalogue; Los Angeles: LACE (Los Angeles Contemporary Exhibitions); Frankfurt: Revolver, 2006. Lucy Reynolds, ‘Outside the Archive: The World in Fragments,’ in Ghosting: The Role of the Archive within Contemporary Artists’ Film and Video, Jane Connarty and Josephine Lanyon, editors; Bristol: Picture This Moving Image, 2006. Bunch Alliance and Dissolve, Public-Holiday Projects (Rachel Foullon, Matt Keegan, Laura Kleger), editor; exhibition catalogue; Cincinnati: Contemporary Arts Center; Brooklyn: Public-Holiday Projects, 2006. Standard Gauge: Film Works by Morgan Fisher, 1968–2003, Chrissie Iles, editor; gallery leaflet; Los Angeles: Museum of Contemporary Art, 2006; excerpts from notes on the films by MF. Los Angeles 1955–1985; Birth of an Art Capital, Catherine Grenier, editor; exhibition
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catalogue; Paris: Éditions du Panama and Éditions du Centre Pompidou, 2006; essays by Catherine Grenier, Howard N. Fox, and David E. James. Jennifer Bornstein, ‘Standard Gauge: Film Works by Morgan Fisher: 1968–2003;’ in ‘The Artists’ Artists,’ Artforum, Vol. XLV, No. 4, December 2006. 2005 Text for the film screening with Thom Andersen, Kölnischer Kunstverein, Cologne, May Federico Windhausen, ‘The Parenthesis and the Standard; On a Film by Morgan Fisher,’ in Cinephilia; Movies, Love and Memory, Marijke de Valck and Malte Hagener, editors; Amsterdam: Amsterdam University Press, 2005. The Most Typical Avant-garde: History and Geography of Minor Cinemas in Los Angeles, David E. James, Berkeley/Los Angeles/London: University California Press; New York: Columbia University Press; Princeton: Princeton University Press, 2005; contains as a chapter the essay published in October 90, Fall 1999 (see under ‘1999’ below). Carol Schwarzman, ‘Morgan Fisher’ in ‘Reviews,’ Art Papers, Volume 29, Number 2, March/April 2005. Marie de Brugerolle, ‘Morgan Fischer [sic], Galerie Stephan Adamski,’ Flash Art, Vol. XXXVIII, No. 243, July-September 2005. Mark Webber, ‘Escape from the Filmic Bermuda Triangle,’ Tate ETC., Issue 5, Autumn 2005. Bruce Hainley, ‘The Bigger Picture,’ Frieze, Issue 94, October 2005. Henriette Huldisch, ‘Standard Gauge: Film Works by Morgan Fisher, 1968–2003;’ gallery leaflet; New York: Whitney Museum of American Art, 2005; essay by Henriette Huldisch, Assistant Curator of Film and Video. ‘Standard Gauge: Film Works by Morgan Fisher, 1968–2003,’ Stuart Comer, editor; gallery leaflet; Los Angeles: Museum of Contemporary Art, 2005; notes edited by Stuart Comer from writings by MF. Jim Supanick, ‘Rules of Engagement; Morgan Fisher’s Cinema of Refusal and Reflexivity,’ Film Comment, November/December 2005. 2004 ‘Morgan Fisher über David Lieske/Morgan Fisher on David Lieske’, in: exh. cat. Formalismus. Moderne Kunst Heute, Kunstverein in Hamburg, 2004, p. 95-103. ’( )’, Städelschule, Frankfurt am Main Paul Arthur, ‘( ),’ Film Comment, January-February 2004. Biennial Exhibition, Chrissie Iles et al., editors; exhibition catalogue; New York: Whitney Museum of American Art, 2004; essays by Chrissie Iles, Shamin M. Momin, and Debra Singer. Luis Recoder, ‘On Morgan Fisher’s Lecture at the Guggenheim,’ Millennium Film Journal, No. 42, fall 2004. Emily Speers Mears, ‘Morgan Fisher,’ ‘Picks,’ artforum.com, December 12, 2004. Chrissie Iles, ‘Film: Best of 2004,’ Artforum, Vol. XLIII, No. 4, December 2004. 2003 ‘The Seventh Annual Views From The Avant-Garde,’ in: filmlinc.com: The New York Film Festival (http://www.filmlinc.com/nyff/avantgarde2003.mf.htm), 31 October, 2003. Fate of Alien Modes, Constanze Ruhm et al., editors; exhibition catalogue; Vienna: Wiener Secession, 2003. 2002 P. Adams Sitney, Visionary Film: The American Avant-Garde, 1943–2000, third edition; New York: Oxford University Press, 2002. Christopher Knight, ‘Finding Conceptual Pleasures in Monochromes,’ Los Angeles Times, 25 January, 2002.
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Catrin Backhaus, ‘Morgan Fisher,’ Frieze, Issue 68, June/July/August 2002. Hans-Christian Dany, ‘Morgan Fisher,’ Springerin, Vol. VIII, Issue 2/02, June–August 2002. Jens Hoffman, A Show That Will Show That a Show Is Not Only a Show; exhibition catalogue; Los Angeles: Edition Valerio, Paris / Berlin, and The Project, New York / Los Angeles, 2002; ‘An E-mail conversation between Bruce Hainley and Jens Hoffman’ and an untitled essay by MF. Gernot Geduldig, ‘Der Kunstler schätzt grau,’ Aachener Nachrichten, 20 September, 2002. Frank Frangenberg, ‘Morgan Fisher – To See Seeing,’ Kunstforum International, Vol. 162, November-December 2002. Vanessa Joan Müller, ‘Gemälde über Bücher,’ Texte zur Kunst, Issue 48, December 2002. Sie träumt von ihrem Lieblingsstar. Er spricht mit einer fremden Sprache. Vier Räume aus derSammlung Schürmann, Julian Heynen and Doris Krystof, editors; exhibition catalogue; Düsseldorf: Ständehaus K21, Kunstsammlung Nordrhein-Westfalen; Ostfildern–Ruit: Hatje Cantz Verlag, 2002. 2001 Rainer Unruh, ‘Junge Kunst aus Kalifornien,’ Kunstforum International, Vol. 154, April-May 2001. Lena Kiessler, ‘Frances Stark Meets Morgan Fisher,’ Nach dem Film, 12/01; www.nachdemfilm.de, Home>Report>Projekte: Frances Stark meets Morgan Fisher. 1999 David E. James, ‘Hollywood Extras: One Tradition of ‘Avant-Garde’ Film in Los Angeles,’ October 90, fall 1999. Projections: Intermission Images, Karen Atkinson and Sylvia Bowyer, editors; exhibition catalogue; Pasadena: AMC Old Pasadena 8 Theaters; Santa Monica: Side Street Projects, 1996; curators’ statement, essays by Andrea Liss and Paul Von Blum, and artists’ statements; booklet, View-Master stereo reel, and View-Master stereo viewer. 1995 ‘Morgan Fisher: Script of Standard Gauge,’ in Screen Writings: Scripts and Texts by Independent Filmmakers, Scott MacDonald, editor; Berkeley/Los Angeles/London: University of California Press, 1995. Ann Goldstein and Anne Rorimer, 1965–1975: Reconsidering the Object of Art; exhibition catalogue; Los Angeles: Museum of Contemporary Art, 1995; essays by Lucy R. Lippard, Stephen Melville, and Jeff Wall. 1994 Kristine McKenna, ‘Filmforum Tackles the ‘Beast,’’ Los Angeles Times, February 14, 1994. Jesse Lerner, ‘Independents in L.A.– Scratching the Belly of the Beast,’ The Independent (Los Angeles), July 1994. Scratching the Belly of the Beast; Cutting-Edge Media in Los Angeles, 1922-1994, Holly Willis, editor; Los Angeles: Filmforum, 1994; ‘Missing the Boat,’ essay by MF. 1993 Scott MacDonald, Avant-Garde Film: Motion Studies; New York: Cambridge University Press, 1993. 1992 David Sterritt, ‘Avant-Garde Films: Recent Trends and Key Works,’ and Steve Anker, ‘Testament to an Orphaned Art;’ Blimp, Issue No. 20, summer 1992; texts in German and English; special issue devoted to the series ‘Unknown Territories: American Independent Film’ presented at the Vienna Film Theater by Sixpack Film, Vienna. Willem de Greef, ‘The Found Footage Film as an Art of Reproduction,’ and Peter Tscherkassky, ‘The Analogies of the Avant-Garde,’ in Found Footage Film, Cecelia Hausheer and Christoph Settele, editors; Lucerne: VIPER/zyclop Verlag, 1992.
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1991 Off Hollywood, Francesco Bono, editor; Nuovocinema/Pesaro No. 38, Quaderni della Mostra Internazionale del Nuovo Cinema; Venezia: Marsilio Editori, 1991; Indipendenti USA, Charles Burnett, Stan Brakhage, Francesco Bono, editor; Quaderno Informativo; Pesaro: XXVII Mostra Internazionale del Nuovo Cinema, 1991. 1990 John G. Hanhardt, ‘Beyond Illusion: American Film and Video Art, 1965-75,’ in The New Sculpture 1965-1975: Between Geometry and Gesture, Richard Armstrong and Richard Marshall, editors; exhibition catalogue; New York: Whitney Museum of American Art, 1990. Erik Saks, ‘20 Best Films of the Decade,’ Modern Times, Issue No. 4, April 1990. Andy Klein, ‘Standard Gauge,’ The Hollywood Reporter, October 8, 1990. 1989 Scott MacDonald, ‘Morgan Fisher: Film on Film,’ Cinema Journal, Vol. 28, No. 2, winter 1989. Scott MacDonald, ‘Putting All Your Eggs in One Basket: A Survey of Single-Shot Films,’ Afterimage, Vol. 16, No. 8, March 1989. David James, Allegories of Cinema: American Film of the Sixties; Princeton: Princeton University Press, 1989. David Schwartz, ‘Morgan Fisher,’ program note for retrospective at The American Museum of the Moving Image, New York, May 12-May 19, 1989. John G. Hanhardt, ‘Film and Video in the Age of Television,’ in Image World: Art and Media Culture, Marvin Heiferman and Lisa Phillips, with John G. Hanhardt, editors; exhibition catalogue; New York: Whitney Museum of American Art, 1989. 1988 Steve Anker, ‘The Avant-Garde: Into the Eighties,’ in Independent America; New Film 1978- 1988; New York: American Museum of the Moving Image, 1988; http://www.movingimagesource.us/images/articles/Independent-America-20090126- 145700.pdf Roger Simon, ‘At the Boundaries: Standard Gauge, The Avant-Garde, and Postmodernism,’ Spectator, Vol. 9, No. 1, fall 1988. Yann Beauvais et al, Mot : dites, image; exhibition catalogue; Paris: Scratch / Musée National d’Art Moderne, 1988; essay by Yann Beauvais, ‘Des mots encore des mots.’ Scott MacDonald, ‘Le texte comme image’ (see under ‘1986’ below); in French. 1986 J. Hoberman, ‘Ten the Hard Way — The 10 Best Films of 1985,’ The Village Voice, January 7, 1986. Scott MacDonald, ‘Text as Image in Some Recent North American Avant-Garde Films,’ Afterimage, March 1986. Alan Williams, ‘Standard Gauge,’ Film Quarterly, fall 1986. 1985 J. Hoberman, review of Standard Gauge, The Village Voice, April 30, 1985. Biennial Exhibition, Richard Armstrong, John G. Hanhardt, et al., editors; exhibtion catalogue; New York: Whitney Museum of American Art, 1985. P. Adams Sitney, rRear-Guard,’ American Film, July-August 1985. John G. Hanhardt, ‘The Passion for Perceiving: Expanded Forms of Film and Video Art,’ Art Journal, fall 1985. 1984 J. Hoberman, ‘After Avant-Garde Film,’ in Art After Modernism: Rethinking Representation, Brian Wallis, editor; New York: The New Museum of Contemporary Art, 1984. 1983 Film as Installation II, Leandro Katz, editor; exhibition catalogue; New York: The Clocktower, 1983; essay by MF on Color Balance. 1982
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J. Hoberman, ‘Vulgar Modernism,’ Artforum, February 1982. 10 Years of Living Cinema, Vincent Grenier, coordinating editor; exhibition catalogue, New York: Collective for Living Cinema, 1982. 1981 Zeno Birolli, with the collaboration of Franco Ghielmetti, American and French Independent Cinema; exhibition catalogue; Milano: Padiglione d’arte contemporanea – Cineteca Italiana, 1981. Henry Hills, West Coast: A Survey of Independent/Avantgarde Film; exhibition catalogue, New York: Anthology Film Archives, 1981; essay by Henry Hills, ‘West Coast Independent Films: An Introduction,’ notes by MF on Phi Phenomenon and Cue Rolls. 1980 The Pleasure Dome: American Experimental Film 1939-1979, Claes Söderquist, editor; exhibition catalogue; Stockholm: Moderna Museet, 1980; essay by P. Adams Sitney, ‘The Achievement of the American Avant-Garde Cinema 1960-1970.’ 1979 Jonathan Crary, ‘Revisions: Whitney Museum,’ Flash Art, October-November 1979. Peter Frank, ‘Guerrilla Gallerizing,’ The Village Voice, May 7, 1979. J. Hoberman, review of Protective Coloration, The Village Voice, October 15, 1979. Trent Myers, ‘Re-Visions,’ Arts Magazine, September 1979. Lawrence Van Gelder, ‘New Film Series Opening at the Modern,’ New York Times, April 20, 1979. Thom Andersen, ‘Morgan Fisher,’ program note for showing in series Independent Film Makers in Columbus, Department of Photography and Cinema, Ohio State University, May 4, 1979. John G. Hanhardt, ‘Re-Visions: Projects and Proposals in Film and Video,’ gallery leaflet; New York: Whitney Museum of American Art, April 19-May 13, 1979. 1978 James Welling, ‘Pat O’Neill and Morgan Fisher — ‘Film Spaces,’’ Artweek, January 14, 1978. 1977 Janet Kardon, Time; exhibition catalogue; Philadelphia: Philadelphia College of Art, 1977. 1976 Linda Gross, ‘The ‘Eastern Influence’ in Film Series,’ Los Angeles Times, June 11, 1976. J. Hoberman, ‘Secrets of the Hand-Held Camera: Films Hollywood Won’t Allow,’ Village Voice, April 5, 1976. Graham Weinbren, ‘Morgan Fisher — Filming the Process,’ Los Angeles Vanguard, June 11-18, 1976. Alan Williams, ‘Evenings for New Film: Morgan Fisher,’ program note for screening at Albright-Knox Art Gallery, presented in collaboration with Media Study/Buffalo and the Center for Media Study, SUNY/Buffalo, January 15, 1976. 1975 Regina Cornwell, Recent Radical Film, Art Information Distribution, New York, 1975. John Dorr, ‘FILMEX Shorts,’ The Hollywood Reporter, March 27, 1975.
1974 Tony Rayns, ‘Reflected Light: Independent Avant-Garde Festival,’ Sight and Sound, Winter 1973/74. Thom Andersen, ‘Films by Morgan Fisher,’ program note for screening at Theatre Vanguard, Los Angeles, February 12, 1974. Kevin Thomas, ‘Phenomenon of Film Explored,’ Los Angeles Times, February 12, 1974. Amos Vogel, Film as a Subversive Art; New York: Random House, 1974. 1973 Donald Skoller, ‘The Fisher Phenomenon,’ Film Comment, Vol. 9, No. 2, March-April 1973.
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Jonas Mekas, ‘Movie Journal,’ The Village Voice, October 25, 1973. 1972 Donald Skoller, ‘Aspects of Cinematic Consciousness,’ Film Comment, Vol. 8, No. 3, September-October 1972. 1970 Kynaston L. McShine, Information; exhibition catalogue; New York: Museum of Modern Art, 1970. 1969 P. Adams Sitney, ‘Structural Film,’ Film Culture, No. 47.
Visiting Artist / Lectures
2014 LUX/ MRes Public Lecture, Morgan Fisher: screening and conversation, LUX, London Art Center College of Design, Los Angeles Times Media Center 2013 Morgan Fisher – Keynote Presentation, Who Is Jack Goldstein? Jewish Museum, New York, NY 2012 FilmForum, International Film Studies Conference, MAGIS–International Film Studies Spring School, Udine/Gorizia, Italy Abstraction in Film, lecture at Nuova Accademia di Belle Arti, Milan, Italy Screening Room as a Modernist Film, lecture at the Austrian Film Museum, Vienna, Austria Painting for Beginners, lecture in conjunction with the exhibition Morgan Fisher: The Frame and Beyond, Generali Foundation, Vienna, Austria Symposium, Institut national d’histoire de l’art and Centre Pompidou, Paris; with the participation of Jean-Philippe Antoine, Christa Blümlinger, Sabine Folie, Christophe Gallois, Ilse Lafer, Matthias Müller, Laura Mulvey, and Constanze Ruhm. Available online at http://www.univ-paris8.fr/IMG/pdf_programmew.pdf; part of Morgan Fisher: Un cinéma hors champ?; Université Paris 8 Vincennes–Saint-Denis, Institut national d’histoire de l’art, and Centre Pompidou, Paris, France. 2011 Untitled gallery talk in connection with the exhibition Blinky Palermo: Retrospective 1964– 1977, Los Angeles County Museum of Art, Los Angeles, CA Graduate Program, Otis College of Art and Design, Los Angeles, CA 2010 HISK (Hoger Instituut voor Schone Kunsten, Higher Institute for Fine Arts), Ghent, Belgium Piet Zwart Institute, Rotterdam, Netherlands Graduate Program, Art Department, University of Southern California, Los Angeles, CA Orange County Museum of Art/University of California Irvine lecture series, Orange County Museum of Art, Newport Beach, CA 2009 Untitled lecture about the paintings and related work, Städelschule, Frankfurt, Germany Untitled lecture about the paintings and related work in the Orange County Museum of Art/University of California Irvine lecture series, Orange County Museum of Art, Newport Beach, CA Untitled lecture about the paintings and related work, Art Center College of Design, Pasadena, CA 2008 Untitled gallery talk in connection with the exhibition ‘Lawrence Weiner: As Far as the Eye Can See,’ Museum of Contemporary Art, Los Angeles, CA 2007 École Nationale des Beaux-Arts, Lyon, France (visiting artist)
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1998 Merz Akademie, Stuttgart, Germany Städelschule, Frankfurt, Germany 1997 Otis College of Art and Design, Los Angeles, CA (visiting artist) Art Center College of Design, Pasadena, CA (visiting artist) 1997 School of Film/Video, California Institute of the Arts, Valencia, CA (visiting artist) 1996 Art Department, University of California at Riverside (visiting artist) Occidental College, Los Angeles, CA (visiting artist) 1995 California Institute of the Arts, Valencia, CA (visiting artist) 1992 Art Center College of Design, Pasadena, CA (visiting artist) 1986 Art Center College of Design, Pasadena, CA (visiting artist) 1980 Philadelphia College of Art, Philadelphia, PA 1978 Contemporary Art Survey (lecture series), Art Department, University of California, Los Angeles College of Creative Studies, University of California at Santa Barbara (visiting artist) Department of Visual Arts, University of California at San Diego 1977 Otis Art Institute, Los Angeles, CA
Other Activities
1990 Juror, dramatic film competition, U.S. Sundance Film Festival, Park City, UT 1986 Panelist, annual meeting at University Film and Video Association, ‘Film in Los Angeles: The Avant Garde and the Industry’ 1981 Member of the Board of Advisors, The Foundation for Art Resources 1980 Member of Evaluation Committee for The George A. and Eliza Gardner Howard Foundation 1977 Guest Editor ‘Journal,’ No. 14, April-May, Los Angeles Institute of Contemporary Art 1976 Panelist, annual meeting of the College Art Association, ‘Object/Illusion: The Filmic Dialectic’ Programming Secretary, The Los Angeles Independent Film Oasis, a cooperatively run non- profit screening organization for independent film (1976-78)
Grants and Fellowships
1989 Media Arts Program, National Endowment for the Arts 1988 California Arts Council 1987 Guggenheim Fellowship for Film
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1980 Media Arts Program, National Endowment for the Arts
Collections
Whitney Museum of American Art, New York, NY FRAC Ile-de-France, Paris, France Museum of Contemporary Art, Los Angeles, CA Museum of Modern Art, New York, NY Moderna Museet, Stockholm, Sweden Deutsche Kinemathek, Berlin, Germany Tate Modern, London, United Kingdom Generali Foundation, Vienna, Austria Carnegie Museum of Art, Pittsburgh, PA
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