Cerith Wyn Evans

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Bibliography

Monographs, solo exhibition catalogues and artist book

  • Bowery, Leigh, Verwandlungskünstler, (Piet Meyer Verlag, Switzerland/Vienna, 2015); texts by Martin Gayford, Gertrud Lehnert, Anne Marsh, Thomas Mießgang, Angela Stief, Katherina Sykora, Sue Tilley
  • Evans, Cerith Wyn, Rebecca Lewin and Melissa Blanchflower (eds.), Cerith Wyn Evans (Serpentine Galleries and Koenig Books, London 2014); texts by Julia Peyton-Jones, Hans Ulrich Obrist, Cerith Wyn Evans, Alexander García Düttmann and Hélène Cixous  
  • Wilson, Eva, Daniela Zyman (eds.), Cerith Wyn Evans: The What If?... Scenario (afterLG) (Thyssen- Bornemisza Contemporary Sternberg Press 2013)
  • Ovstebo, Solveig, Ase Lovgren and Steiner Sekkingstad (ed.), Cerith Wyn Evans (Bergen Kunsthall, Norway 2011); text by Lars Bang Larsen
  • Obrist, Hans Ulrich and Cerith Wyn Evans, Everyone's Gone to the Movies, Now We're Alone at Last... (White Cube, London 2010)
  • Birnbaum, Daniel and Octavio Zaya, …Visibleinvisible (Hatje Cantz Verlag, Germany; Junta de Castilla y Leon; and Museo de Arte Contemporaneo de Castilla y Leon 2008)
  • Moritz Kung, Cerith Wyn Evans: Delay “…” (deSingel Internationale Kunstcampus, Belgium 2007)
  • König, Walther, Bubble Peddler (Walther Koenig and Kunsthaus Graz, Cologne 2007)
  • Un-authored, …in which something happens all over again for the very first time (Musée D’Art de la Ville de Paris/ARC, Paris; White Cube, London; and Lenbachhaus Kunstbaustadtische Galerie 2006)
  • Un-authored, The Curves of the Needle (BAWAG Foundation, Vienna 2005)
  • Cerith Wyn Evans (Frankfurter Kunstverein and Lukas & Sternberg, New York 2004); texts by Andreas Spiegl, Cerith Wyn Evans, Manfred Hermes, Juliane Rebentisch and Jan Verwoert
  • Arning, Bill, Thoughts Unsaid, Now Forgotten… (MIT List Visual Art Center, Boston 2004)
  • Higgie, Jennifer, Cerith Wyn Evans (Camden Arts Centre, London 2004)
  • Shani, Annushka, Look at that Picture… How Does it Appear to You Now? Does it Seem to be Persisting? (White Cube, London 2003)
  • Meredith, Rachel, Cerith Wyn Evans: Cleave 00 (Tate Publishing, London 2000)
  • Wyn Evans, Cerith, Cerith Wyn Evans: In Girum Imus Nocte et Consumimur Igni (Centre for Contemporary Art Kitakyushu and Korinsha Press, Kyoto 1999)
  • British Artists in Rome (Studio Case Grande, Rome 1996)
  • Sense and Influence (Kijkhuis, The Hague 1990)
  • Solo Exhibition 79-89 (ICA Cinematheque, London 1989)
  • A Certain Sensibility (ICA Cinematheque, London 1989)

General publications and group exhibition catalogues

  • Al-Qasimi, Hoor, Light Show (Sharjah Art Foundation, United Arab Emirates 2015), p. 64
  • Williams, Scott and Henrik Kubel, New Perspective in Typography (Lawrence King, London 2015), p. 61
  • Bean, Victoria and Chris McCabe, The New Concrete: Visual Poetry in the 21st Century (Hayward Publishing, London 2015), p. 202
  • Perrett, Tamsin (ed.), Frieze Art Fair: London 2014 (Frieze, London 2014)
  • Bracewell, Michael, Play What’s Not There (Raven Row, London and John Morgan Studio, London 2014)
  • Beard, Lee and Rebecca Morrill (eds.), The Twenty-First Century Art Book (Phaidon, London 2014); texts by Jonathan Griffin, Paul Harper, David Trigg and Eliza Williams, p.287
  • Hodge, Susie, How To Look At Art (Tate Publishing, London 2014)
  • Private Utopia (British Council 2014); texts by Sinta Berry, Kazue Fujimaki, Emma Gifford-Mead, Katsuhito Okuno, Amy Pettifer, Tomoe Takagi, Yuichiroh Takashima and Aya Yuzuhana
  • Herbert, Matin, The Uncertainty Principle (Sternberg Press, 2014) Flow Resistance
  • Una Posibilidad de Escape (Espai d’Art Contemporani de Castello 2013); texts by Laura Hoptman, Agustin Perez Rubio and Octavio Zaya
  • Brauner, Renat and Andreas Mailath-Pokormy, Kunst Passage Karlsplatz, (Wiener Linien and Kör, Kunst, 2013)
  • Davenport, Phillip (ed.) The Dark Would: Anthology of Language Art (Arts Council England, 2013)
  • Reves de Venise (L’Institut Culturel Bernard Magrez, Bordeaux 2013)
  • Thomas, Rachael (ed.), Cloud Illusions I Recall (Irish Museum of Modern Art, Dublin 2013)
  • Ulrich Obrist, Hans (ed.), do it: the compendium, (Independent Curators International, New York/DAP, 2013)
  • Wagner, Anne, Philip Ball and Cliff Lauson, Light Show (Hayward Publishing and Southbank Centre, London 2013)
  • Chaillou, Timothee, Only parts of us will ever touch parts of others (Galerie Thaddaeus Ropac, Paris 2012); texts by Thomas Clerc, Boris Groys and John Miller
  • Secret Societies (Schirn Kunsthalle, Frankfurt 2011)
  • Himmelsbach, Sabine and Connor, Michael, Wild Sky, (Hatje Cantz Verlag, Ostfildern 2011)
  • Petry, Michael, The Art of Not Making: The New Artist / Artisan Relationship (Thames & Hudson, London 2011)
  • León de la Barra, Pablo and Arriola, Magalí (eds.), Incidents of Mirror-Travel in Yucatán and Elsewhere, (Instituto Nacional de Bellas Artes y Literatura, Mexico 2011); texts by Teresa Vicencio Álvarez, Carmen Cuenca, Pablo León de la Barra, Sam Durant, Claudia Fernández, Simon Martin, Rubén Ortiz Torres, Jennifer L. Roberts, Jesse Lerner, Neville Wakefield, Brian Dillon
  • Bussel, David, Looking at Display, Images of Contemporary Art in London Galleries (Rachmaninoff’s, London 2009)
  • Selby, Aimee, Art and Text (Black Dog Publishing, London 2009); texts by Dave Beech, Charles Harrison and Will Hill
  • The Future Demands Your Participation: Contemporary Art from the British Council Collection (British Council 2009); text by Simon Grant
  • Trummer, Thomas (ed.) Endless Sphere (Revolver, Berlin 2008)
  • Yokohama Triennale: Time Crevasse (Yokohama, 2008)
  • Zechlin, René (ed.), Leigh Bowery – Beautified Provocation (Kunstverein Hannover, 2008)
  • Craig, Blanche (ed.), Contemporary Glass, (Black Dog Publishing, London 2008)
  • Beulque, Camille. Sound of Music, (FRAC Nord, Pas de Calais 2008)
  • La Collection: Musee d’Art Moderne de la Ville de Paris (Paris Musees, 2008); texts by Gerard Audinet, Laurence Bosse, Odile Burluraux, Marie-Sophie Carron de la Carriere, Anne Cartier-Bresson, Jessica Castex, Alain Cueff, Cecile Debray, Anne Dressen, Emmanuelle de l’Ecotais, Dominique Gagneux, Julia Garimorth, Sophie Krebs, Juliette Laffon, Francois Michaud, Anne Montfort, Jacqueline Munck, Beatrice Parent and Angeline Scherf
  • Eshun, Eko (ed.), How Soon Is Now: 60 Years of the Institute of Contemporary Arts (Institute of Contemporary Arts, London 2008)
  • Miller, Harland. You Dig the Tunnel, I’ll Hide the Soil (White Cube, London 2008)
  • Seifermann and Jörg Heiser (eds.), Romantic Conceptualism (Bielefeld/Leipzig: Kerber Verlag 2007)
  • Schafhausen, Nicolaus and Max Hollein (Eds.). Kunst/Art: Lufthansa Aviation Center (Revolver, Frankfurt 2007)
  • Mair, Robert and Rod Mengham, Sculpture in the Close (Jesus College, Cambridge 2007)
  • Blom, Ina, On the Style Site: Art, Sociality and Media Culture, (Sternberg Press, Berlin 2007)
  • Bracewell, Michael and Tom Trevor. Pale Carnage (Arnolfini, Bristol 2007)
  • Dark Matter (White Cube, London 2006); texts by Annushka Shani and Donald Kuspit
  • Rugoff, Ralph, Michael Archer, Marjorie Allthorpe-Guyton and Roger Malbert, How to Improve the World: 60 Years of British Art (Hayward Gallery, London 2006)
  • Koolhaas, Rem and Hans Ulrich Obrist, Serpentine Gallery 24-Hour Interview Marathon: London (Serpentine Gallery, London 2006)
  • Thomas, Rachael, All Hawaii Entrées/Lunar Reggae (Irish Museum of Modern Art, Dublin 2006)
  • The Expanded Eye: Sehen – Entgrenzt und Verflüssigt (Hatje Cantz Verlag, Ostfildern 2006); texts by Curiger Bice, Ina Blom, Diedrich Diederichsen, Kurt W. Forster, Al Rees and Rüdiger Wehner
  • Rebentisch, Juliane, Stage of Life – Rhetorics of Emotion (Lenbachhaus München and Walther König, Cologne 2006)
  • Tate Triennial 2006: New British Art (Tate Publishing, London 2006); texts by Beatrix Ruf, Clarrie Wallis, Jan Verwoert, Gair Boase, Siobhan McCracken, Emily Pethick, Katherine Stout and Catherine Wood
  • Keller, Anne, Beatrix Ruf and Stefan Kalmar. Art at 30 St Mary Axe (Swiss Reinsurance Group, Zurich 2005)
  • Die Zehn Gebote (Deutschen Hygiene Museum, Dresden and Ostfildern-Ruit, Hatje Cantz, 2004)
  • Bonami, Francesco and Gigiotto Del Vecchio, Sensi Contemporanei in Campana (La Biennale di Venezia, Venice 2004)
  • The Future Has A Silver Lining (Migros Museum für Gegenwartskunst Zurich and JRP/Ringier, Zurich 2004); texts by Tom Holert, Heike Munder, Ian Penman and Terre Thaemlitz
  • Van Winkel, Camiel and Moritz Küng, Schöner Wohnen (Platform voor actuele kunst, Waregem, Belgium 2004)
  • Shani, Annushka, Eclipse: Towards the Edge of the Visible (White Cube, London 2004)
  • Trummer, Thomas, Ulysses (Galerie Belvedere, Vienna 2004)
  • Petry, Michael, Hidden Histories: Twentieth Century Male Same Sex Lovers in the Visual Arts (Artmedia Press, London 2004)
  • Mavridorakis, Valérie, Elvan Zabunyan and David Perreau, Doubtiful dans les Plis du Reel (Art & Essai, University of Rennes, Rennes 2004)
  • Zyman, Daniela, Ein-Leuchten (Museum der Modern Salzburg, Vienna 2004)
  • A. Kaye, Richard, Carlo Santoli, Germaine Greer and Gerald Matt, Heiliger Sebastian: A Splendid Readiness For Death (Kunsthalle Wien, Vienna and Kerber Verlag, Bielefeld 2003)
  • Manacorda, Francesco, The Straight or Crooked Way (Royal College of Art, London 2003)
  • Graw, Isabelle and Georg Schöllhammer, Adorno: The Possibility of the Impossible Vol II (Frankfurter Kunstverein, Frankfurt and Lukas & Sternberg, New York 2003)
  • Hirsch, Michael, Vanessa Joan Müller and Nicolaus Schaufhausen (eds.) Adorno: The Possibility of the Impossible Vol I (Frankfurter Kunstverein and New York: Lukas & Sternberg, Frankfurt 2003)
  • Rut Blees Luxemburg – Ffolly (Ffotogallery & Glynn Vivian Art Gallery, Swansea, UK 2003)
  • Cream 3 (Phaidon, London 2003); texts by Gilda Williams, Carolyn Christov-Bakargiev, Charles Esche, Rubén Gallo, Yuko Hasegawa, Udo Kittlemann, Adriano Pedrosa, Beatrix Ruf, Nancy Spector, Hamza Walker and Igor Zabel
  • Further: Artists from Wales at the 50th International Art Exhibition, Venice (Wales Art International, Cardiff 2003); texts by Patricia Fleming, Julia Heynen, Kris Cohen, Sarah Cook, Caoimhín Mac Giolla Léith, Jan Verwoert and Will Bradley
  • Enwezor, Okwui. Documenta 11 Platform 5 (Museum Friedericianum Veranstaltungs-GmbH and Ostfildern-Ruit, Hatje Cantz, Kassel, Germany 2002)
  • Bezzan, Cécilia, ForwArt (Palais des Beaux-Arts, Brussels 2002)
  • Iida, Takayo, Screen Memories (Contemporary Art Center, Art Tower Mito, Ibaraki, Japan 2002)
  • Bradley, Will, Henriette Bretton-Meyer and Toby Webster, My Head is on Fire but my Heart is Full of Love (Charlottenborg Museum, Copenhagen 2002)
  • Anderson, Emma and Alistair Robinson, Shine (Lowry Press, Salford 2002)
  • Gillick, Liam, White Cube. 44 Duke Street, St James, London (Steidl, Gottingen 2002)
  • Fig.1: The Commemorative Book(Spafax Publishing and Tate Publishing, London 2001)
  • Farquharson, Alex, ‘Wales’: Unauthorized versions (Croatian Association of Artists, Zagreb 2001)
  • Gymnasion (Bregenzer Kunstverein, Begrenz 2001); texts by Jane Lee, David Beech, Peter Lewis and Victor Burgin
  • The Greenhouse Effect (Serpentine Gallery, London 2000); texts by Ralph Rugoff, Lisa Corrin, Simon Morley and Mark Dion
  • Watkins, Jonathan, Tania Kovats and Irit Rogoff, Lost (Ikon Gallery, Birmingham 2000)
  • Sensitive (Printemps de Cahors, Saint-Cloud 2000); texts by Christine Macel, Pascal Beausse, Marie-Frédérique Hallin and François Piron
  • Grosenick, Uta, ART NOW (Taschen, Cologne 2000)
  • Young British Art: The Saatchi Decade (Booth-Clibborn Editions, London 1999)
  • Bonami, Francesco and Hans-Ulrich Obrist, Dreams (Fondazione Sandretto Re Rebaudengo per l'Arte, Turin and Castelvecchi Arte, Rome 1999)
  • Die EVN Sammlung im Belvedere Ankäufe 1997-99 (EVN AG, Vienna 1999)
  • Close Echoes: Public Body and Artificial Space (City Art Gallery and Krems: Kunsthalle Krems, Prague 1998)
  • From the Corner of the Eye (Stedelijk Museum, Amsterdam 1998); texts by Murat Aydemir, Leontine Coelewij, Rudi Fuchs, Martijn van Nieuwenhuyzen and Hripsimé Visser
  • Sensation: Young British Artists from the Saatchi Collection (Hamburger Bahnhof, Berlin 1998); texts by Brooks Adams, Lisa Jardine, Martin Maloney, Norman Rosenthal and Richard Shone
  • Jacques, Alison, False Impressions (The British School at Rome, Rome 1997)
  • Archer, Michael and Greg Hilty, Material Culture (Hayward Gallery, London 1997)
  • Shand-Kydd, Johnnie, Spit Fire: Photographs from the Artworld, London 1996/97 (Thames & Hudson, London 1997)
  • Lapa, Pedro, Laurence Bossé and Guy Brett, Life/Live (Musee d’Art Moderne de la Ville de Paris, Paris and Centro de Exposições do Centro Cultural de Belém, 1996)
  • Faction Video (Royal Danish Academy of Fine Arts, Copenhagen 1995)
  • General Release: Young British Artists (Scuola di San Pasquale, Venice 1995)
  • Potato (IAS, London 1994)
  • 5th Oriel Mostyn Open Exhibition (Oriel Mostyn, Llandudno 1993)
  • 240 Minutes (Galerie Esther Schipper, Cologne 1992)
  • Sign of the Times (Modern Art Oxford, Oxford 1990)
  • O’Pray, Michael, Andy Warhol: Film Factory (British Film Institute, London 1990)
  • Sign of the Times (Modern Art Oxford, Oxford 1990); texts by Chrissie Iles, David Hall, Jean Fisher and John Roberts
  • Gidal, Peter. Materialist Film (Routledge, London 1989)
  • Michael O’Pray, Catherine Lacey and Tamara Krokorian, The Elusive Sign. British Avant-Garde Film & Video 1977-1987 (Arts Council of Great Britain and The British Council, London1987)
  • Syncronisation of the Senses (ICA Cinematheque, London 1985)
  • O’Pray, Michael, British Film & Video 1980-1985. The New Pluralism (Tate Publishing, London 1985)


Newspaper and magazine articles

  • Stanton, Elizabeth, ‘Future Perfect’, Art Collector, April – June 2014, front cover + pp. 114 - 117

  • Durrant, Nancy, ‘You don’t need to be rich to get the most out of Frieze’, The Times 2: Arts, 9 October 2015, pp. 4-5

  • Nathanson, Hannah, ‘Creative Review: Neighbourhood watch’, Vogue, November 2015, p. 137

  • Un-authored, 'Cerith Wyn Evans', Fondation Louis Vuitton Le Journal, No.1, October 2014, p.39
  • Coomer, Martin, ‘Light Reading‘, Time Out London, 16-22 September 2014, p.88
  • Bollen, Christopher, ‘Cerith Wyn Evans’, interviewmagazine.com, 6 December 2012
  • Un-authored, ‘Phillips de Pury & co announces highlights from London October Contemporary art auctions’, Artdaily.org, 2 October 2012
  • Un-authored, ‘Cerith Wyn Evans’, Undo.net, 28 September 2012
  • Un-authored, ‘Art & The City: Cerith Wyn Evans exhibition’, Hk.lifestyleasia.com, 28 September 2012
  • Lambert, Yvon, ‘Cerith Wyn Evans Derive’, Visuellemagazine.blogspot.co.uk, 13 May 2012
  • Un-authored, ‘Cerith Wyn Evans at the De La Warr Pavillion’, Rowenadunn.wordpress.com, 4 May 2012
  • Un-authored, ‘Three major installations and smaller new works by Cerith Wyn Evans on view at De La Warr Pavilion’, Artdaily.org, 26 March 2012
  • Herbert, Martin, ‘Now see this’, Artreview, Issue 57, March 2012, pp. 26, 27, 29,30 and 31
  • Jones, Jonathan, ‘Cerith Wyn Evans, Joan Miró and a new Leonardo – The week in art’, Guardian.co.uk, 16 March 2012
  • Un-authored, ‘BFC announces Britain Creates’, Fashionunited.co.uk, 1 March 2012
  • Arthurs, Deborah, ‘Cheeky Marc Jacobs ad campaign leaves little to the imagination…and where are all the clothes?’, Dailymail.co.uk, 26 July 2011
  • Blom, Ina, ‘Potential energy’, ARTFORUM, May 2011, pp.246-249
  • Yeoh, Peter, ‘Cryptic art’, Theglassmagazine.com, 19 May 2011
  • Carey-Thomas, Lizzie, Wallis, Clarrie, Wilson, Andrew, Wyn Evans, Cerith, ‘The Scene is set’, Tate Etc., May 2011
  • Bell, Kristy, ‘Cerith Wyn Evans’s ‘Assemblage’ at Galerie Neu, Berlin’, Art-agenda.com, 20 March 2011
  • O’Hare, Louise, ‘Cerith Wyn Evans: reference and vetriloquism’, Afterall.org, 9 March 2011
  • Capper, Andy, ‘Agreement is not what we look for’, Vice, 1 November 2010, pp.60-64
  • Brancolina, ‘Cerith Wyn Evans: installations with neon messages’, Wordpress.com, 22 October 2010
  • Smith, Alison, Sweep me off my feet’, Trendsmagazineparis.com/art, 12 July 2010
  • Luke, Ben, ‘Trip the light fantastic’, Evening Standard, 19 April 2010, p.31
  • Jones, Jonathan, ‘Artist Cerith Wyn Evans fires up the White Cube’, Guardian.co.uk (onartblog), 18 April 2010
  • Darwent, Charles, ‘Everyone Gone to the Movies…White Cube, London (Review)’, Independent.co.uk, 18 April 2010

Audio and Visual

  • Resonance FM, (104.4FM), 18 October 2004, 2.15pm
  • This is Modern Art (presented by Matthew Collings), Oxford Television Company Production for Channel Four, June – July 1999