Martin Kersels
1995 : The University of California, Los Angeles, CA; M. F. A. in Art.
1984 : The University of California, Los Angeles, CA; B. A. in Art.
2001 Galerie G-P. & N. Vallois, Paris
Deitch Projects, New York
2000 Kunst Halle de Berne, Suisse
1999 Spinning, Galerie Georges-Philippe & Nathalie Vallois, Paris.
Dan Bernier Gallery, Los Angeles, CA.
1998 Dan Bernier Gallery, Santa Monica, Californie.
Th.e, Naples, Italie.
1997-98 Madison Art Center (7 déc. 1997-15 Fév. 1998), Center for the Arts,
Yerba Buena Gardens, San Francisco (13 juin-23 août 1998). (cat.)
1996 Jay Gorney Modern Art, New York.
1995 Dan Bernier Gallery, Santa Monica, Californie.
1993 A/B Gallery, Los Angeles, Californie.
1992 Weight, Los Angeles Contemporary Exhibitions, Los Angeles, CA.
1989 Measured Table, Los Angeles Contemporary Exhibitions, Los Angeles, CA.
Kay Sir Ra Sir Ra, Kid Aileck Gallery, Tokyo, Japon.
1987 Shape of pools Today, Wallenboyd Theater, Los Angeles, CA.
1985 Sweaters, Backlot Theater, Los Angeles, CA.
2000 "Comment tuer le temps", Ecole des Beaux Arts de Quimper, France
"Departures, 11 artists at the Getty", The J. Paul Getty Museum, Los Angeles
1999 "EXTRAetORDINAIRE", Printemps de Cahors, curator : Christine Macel
Biennale de Melbourne, Melbourne, Australie
1998 "Young American 2", Saatchi Gallery, Londres.(cat.)
1997 "Need for Speed", Grazer Kunstverein, Graz, Autriche. (cat.) W-139, Amsterdam.
"Cruising L.A" : Paul McCarthy, Martin Kersels, Catherine Opie, Lari Pittman, Jason Rhoades, Galeria Soledad Lorenzo, Madrid, Espagne.
"Vanessa Beecroft, Jennifer Bornstein, Martin Kersels, Gillian Wearing",S.L. Simpson Gallery, Toronto, Canada.
"Frankensteinian", Caren Golden Gallery, New York, curator : Stuart Horodner.
"Celluloid Cave", Thread Waxing Space, New york, curator : Dara Friedman.
"COLA", The Municipal Art Gallery, Barnsdall Park, Los Angeles.New Langton Arts, San Francisco.
Biennal 1997, Whitney Museum of American Arts, New York,curators : Lisa Phillips et Louise Neri.
"Ten Los Angeles Artists", Stephen Wirtz Gallery, San Francisco.
1996 "Romper Room", Thread Waxing Space, New York, curator : Danielle Chang.
"Power of Suggestion", Museum of Contemporary Art, Los Angeles, curator : Connie Butler.
"Hero", Common Wealth Gallery, Madison.
"Defining the Nineties" : Consensus - Making in New York, Miami, and Los Angeles,Museum of Contemporary Art, Miami, curator : Bonnie Clearwater.
" Left of Center", Ten in One Gallery, Chicago.
1995 "Sampler II", David Zwirner, New York, curator : Diana Thater.
"La Belle et la Bête" : Un Choix de jeunes Artistes Américains, Musée d’Art Moderne de la Ville de Paris, Paris.
"Post marked L.A", P.P.O.W. Gallery, New York.
1994 "L.A.X." - The L.A. Biennial, Otis Parsons Gallery, Los Angeles.
"Hooked on a Feeling", Kohn - Turner Gallery, Los Angeles.
Catalogues
1999
Catalogue du Printemps de Cahors, EXTRAetORDINAIRE, pp. 102-103.
1998
Young Americans 2 : New American Art at the Saatchi Gallery, publié par la Saatchi Gallery, Londres, textes de Brook Adams et Lisa Liebmann.
1997
Commotion : Martin Kersels, publié par le Madison Arts Center, texte de Jerry Saltz, interview de Martin Kersels par Toby Kamps.
Cruising LA, publié par la Galeria Soledad Lorenzo Orfila, Madrid, texte de Jose Alvaro Perdices.
Celluloid Cave, publié par Thread Waxing Space, New York.
1997
Whitney Biennial Exhibition, publié par le Whitney Museum of American Art, New York, textes de Lisa Phillips et Louise Neri - Inside-out, p. 48, 102-103 (ill.).
1996
The Power of Suggestion : Narrative and Notation in Contemporary drawing, publié par le Museum of Contemporary Art, Los Angeles, texte de Cornelia Butler, pp. 7-8, 29-30 (ill.).
Defining the Nineties : Consensus-Making in New York, Miami, Los Angeles, publié par le Museum of Contemporary Art, Miami (ill. en couverture), textes de Bonnie Clearwater, Michael Duncan et Allan Schwartzman.
1995
La Belle et la Bête : un choix de jeunes atistes américains, publié par le Musée d’Art Moderne de la Ville de Paris, Paris, textes de Lynn Gumpert, Béatrice Parent et David Pagel.
LAX/94 : The Los Angeles Exhibition, publié par LAX : The Los Angeles Exhibition, texte de Anne Ayers.
Périodiques
2000
Deborah Irmas, Nano, “Martin Kersels”, n°1 (ill.)
1999
Jade Lindgaard, Les Inrockuptibles, “XXL”, spécial Printemps de Cahors supplément au n° 203, 16 juin, p.13 (ill.).
1998
Takashi Murakami, Studio Voice, “Martin Kersels”, Dec., p. 111 (ill.).
Michael Darling, L.A. Weekly, “The fat man sings”, 30 oct.-5 Nov, p. 48 (Ill.).
William Wilson, Los Angeles Times, “Commotion pulls viewer into artist’s wacky life”, 21 oct., p. F3 (ill.).
Jean-Yves Jouannais, Art Press, “L’idiotie, ésotérisme fin de siècle”, n° 238, sept., pp. 40-41 (ill.).
Alison Smith, The Face, n° 20, sept., pp. 186-187 (ill.).
Jesse Lerner, Poliester, “Martin Kersels (review, Dan Bernier Gallery)”, été, pp. 50-51 (ill.).
Jesse Lerner, Snowflake, # 3, p. 2.
David Schafer, Art Papers, “Martin Kersels (review, Dan Bernier Gallery)”, mai-juin, p. 30 (ill.).
Amy Gerstler, Artforum, “Martin Kersels (review, Dan Bernier Gallery)”, mai, p. 155 (ill.).
Michelle Grabner, New Art Examiner, “Martin Kersels”, mars, p. 49 (ill.).
1997
Karen Tom, Cover, “Commotion : Martin Kersels”, vol. 11, # 5, p. 97.
Karen Tom, Buzz, “100 Coolest people in L.A.”, oct., p.98.
Natasha Kassulke, The Capital Times, Rhythm Sec., pp. 10-11 (ill + couverture).
Fernando Huici, El Pais (Madrid), “Delicias del Microondas”, 12 juillet.
Javier R. Nornblot, El Punto de las Artes (Madrid), “Cruising L.A. : el mundo fuera de la burbuja”, 4-17 juil.
Jose Maria Parreno, ABC (Madrid), “Los Angeles, punto de encuentro”, 4 juil.
M. Mora, El Pais (Madrid), “El arte crudo de seis “chicos malos” de Los Angeles se muestra en Madrid : “Cruising L.A.” combina fotos instalaciones y pinturas”, 1er juillet.
Marcos R. Barnatan, El Mundo (Madrid), “La Mirada despotica”, 28 juin.
Roberta Smith, The New York Times, “The Celluloid cave”, 27 juin, pp. 110-113
Christopher Knight, Los Angeles Times, “A “Cola” that refreshes”, 27 mai, p. 1F & F8.
Christopher Knight, Los Angeles Times, “Show time at Biennial : send in the big crowds”, 23 mars, pp. 74-75.
Mark Sanders, Dazed & Confused, “Totally wired”, # 30, pp. 51-53 (ill.).
Paul Young, Buzz, “An “A” for UCLA Art Graduates to the top of the art school ladder”, été, p. 34.
Hunter Drohojowska, Los Angeles Times, “He likes to throw his weight around”, 23 mars, pp. 74-75 (ill.).
David Bonetti, San Francisco Examiner, 28 fév., p. C11.
George Melrod, World Art, n° 18, pp. 40-45 (ill.).
Amy Fusselman, Bunnvrabbit, “# 8, pp. 20-28 (ill.).
Christopher Miles, SOMA, “Multi-medium madcap”, mars, pp.13-16 (ill.).
David A. Greene, Art & Text, “Martin Kersels”, n° 56, pp. 81-82 (ill.).
Joshua Decter, Artforum, “Martin Kersels”, fév., pp. 86-87 (ill.).
Bruce Hainley, Artforum, “Power of suggestion”, fév., p. 82 (ill.).
Bruce Hainley, Detour, “69 at the Whitney”, p. 156.
1996
Calvin Reid, Art in America, “Martin Kersels at Jay Gorney”, nov., pp. 111-112.
Christopher Knight, Los Angeles Times, “Drawing the conventional conceptualist’s conclusion”, 12 nov., p. F3.
Roberta Smith, The New York Times, “Martin Kersels at Jay Gorney”, 26 sept., p. C29.
Stuart Servetar, The New Art Examiner, “Martin Kersels”, oct.
Bill Arning, The Village Voice, “Big in L.A.”, 24 sept., p. 71.
Howard Halle, Time Out New York, “Heavy : An L.A. artist shows that size matters”, 4-11 sept., p. 32.
Randy Alexender, The New Art Examiner, “Hero”, mai, p. 54 (ill.).
Roberta Smith, The New York Times, “Art, film and their brilliant, messy union”, 7 avril, p. H33.
Michael Kimmelman, The New York Times, “Ambitious Miami Reaches for a place in the sun”, 31 mars, p. C34-37.
Laurie Attias, Art News, “Beauty and the beast”, avril, p. 142 (ill.).
David Greene, Art Issues, “Need your love (Martin Kersels)”, mars/avril, pp. 15-18 (ill. + couverture).
Deborah Wilke, The New Art Examiner, “Left of Center”, mars, pp. 35-36.
Amy Sillman, Things Review (internet magazine), “Left of Center”, 20 fév., p. 1.
Lisa Stein, Chicago New City, “Ten in one Gallery”, 18 fév.
Kaoru Jindalji, Bijutsu Techo (Tokyo), “Paris”, fév., p. 83.
Roberta Smith, The New York Times, “Sampler 2 : single channel video from Souther California”, 26 janv., p. C25.
1995
Philippe Piguet, L’oeil, “La Belle et la Bête”, (ill.).
Philippe Piguet, Paris, Le Jourloi, “La Belle et la Bête”, 15 oct. (ill.).
Alisa Tager, Art in America, nov., p. 121 (ill.).
David Pagel, Frieze, “Musical chairs”, nov./déc., pp. 42-43 (ill.).
Terry R. Myers, New Art Examiner, “Martin Kersels”, oct., pp. 48-49 (ill.).
Jody Zellen, Art Press, “Looking back in Anger”, sept., p.1 (ill.).
Shizuyo Becker, BT (Japon), août, p. 123 (ill.).
David Greene, Los Angeles Reader, “For your listening & viewing pleasure, 2 juin, p. 14 (ill.).
Christopher Knight, Los Angeles Times, “Artful sounds”, 10 mai, p. F6.
Marc Selwyn, Flash Art, “Report from Los Angeles, mai/juin, pp. 97-99 (ill.).
1994
Michael Duncan, Art in America, “L.A. Rising”, déc., pp. 74, 76-77 (ill.).
Susan Kandel, Los Angeles Times, “Sincerity” focuses on beauty, but not without irony”, 24 nov., p. F20.
Doug Harvey, Visions Quarterly, “Martin Kersels”, hiver, pp. 33-34 (ill.).
Michael Darling, Artweek, “An insistent whimsy”, août, p. 13.
Jerry Saltz, Art & Auction, “L.A. rising”, avril, p. 91.
Alisa Tager, Art Issues, “Martin Kersels”, mars/avril, p. 45 (ill.).
Alisa Tager, Galeries Magazine, “Ze news”, oct., p. 35.
Kerry Kugleman, Artweek, “The day of the machine”, 20 janv., p. 13 (ill.).
Peter Frank, L.A. Weekly, “Art pick of the week”, 7 janv. (ill.)
1993
David Pagel, Los Angeles Times, “An enthusiastic embrace of powerful ambiguity”, 30 déc. (ill.).