MIGUEL ABREU GALLERY LIZ DESCHENES “Liz Deschenes is a photographer who, in the best modernist tradition, pushes against the basic terms by which photography is conventionally defined: instantaneity, veracity, fixity, or reproducibility,” writes curator and critic Matthew Witkovsky. Indeed, Deschenes uses durational photogramatic exposure to create unique, shifting surfaces that frequently function as sculptural or architectural rather than photographic objects. Deschenes stages the technical components of photography, both contemporary and anachronistic, while reflecting, compressing, and assessing the architectural settings that surround them, through her mirrors’ simultaneous repopulation and evacuation of these spaces. In her earlier work, Deschenes utilized landscape images as an entry point to address self-reflexive concepts of the medium. Her Elevations series utilized the rich and dense dye transfer color printing reminiscent of the golden age of Technicolor films, a process discontinued by Kodak in 1993. The project staged the seven standard colors developed by cartographers to represent ranges of the earth’s elevation to produce a gradation of corresponding monochrome photographs. Deschenes’s Blue and Green Screens foregrounded the invisible screens typically used as the invisible basis for special effects and absent background imagery. In her Moiré series, Deschenes photographed a sheet of perforated paper filtering the light coming through a window, and superimposed the ensuing negative with a duplicate on an enlarger to create an abstract, moiré pattern image. The result is an optically oscillating, dazzling body of work grounded in the manipulation of a single negative. In her most recent work, Deschenes exposes photographic paper to the night sky, develops it, and fixes the photogram with silver toner, creating misty silver surfaces brindled with slight changes in hue – affected either by exposure to ambient light, or the hand-application of the toner itself. After the photogramatic process creates these unique and varied surfaces, the works are mounted on aluminum or Dibond. Some of these photograms remain unframed and tend to oxidize over time, further problematizing the role of the photograph as fixed image on surface. Instead, purged of representational content, the photograph functions as an object that records how it has been, and continues to be, acted upon. The series originated with Tilt / Swing, an installation of six such “silver mirror” panels arranged in a 360-degree floor-to-ceiling configuration at Miguel Abreu Gallery, based on a diagram that 20th Century architect, designer, and artist Herbert Bayer drew to accompany his essay The Fundamentals of Exhibition Design. In her second iteration of the Tilt / Swing installation, the photographic panels were fully exposed to daylight, and brought to black in the development stage. Deschenes’s subsequent individual silver and black mirror works stage the same time-based photographic processes in an energetic rather than taxidermic language, allowing variations in framing and size to act in myriad ways upon the surrounding conditions of display. Liz Deschenes (b. 1966, Boston) graduated from the Rhode Island School of Design in 1988. She teaches at Bennington College and is a visiting artist at Columbia University’s School of Visual Arts and Yale University. Her work is held in the permanent collections of the Centre Pompidou, the San Francisco Museum of Modern Art, the Solomon R. Guggenheim Museum, the Whitney Museum of American Art, the Museum of Modern Art, The Metropolitan Museum of Art, the Walker Art Center, The Art Institute of Chicago, ICA/Boston, the CCS Bard Hessel Museum of Art, the Milwaukee Art Museum, the Corcoran Museum of Art, and the Hirschhorn Museum and Sculpture Garden. She was the recipient of the 2014 Rappaport Prize. Deschenes has recently presented her work in a series of two-person exhibitions with Sol LeWitt at Fraenkel Gallery, San Francisco (2017), Miguel Abreu Gallery and Paula Cooper Gallery, New York (both 2016). Her work was the subject of a 2016 survey exhibition at the ICA/Boston. In 2015, Deschenes presented solo exhibitions at MASS MoCA and the Walker Art Center, and was included in group exhibitions at the Whitney Museum of American Art, Musee d’Art Moderne, the Centre Pompidou, and Extra City Kunsthal in Antwerp. In 2014, her work was featured in Sites of Reason: A Selection of Recent Acquisitions at the Museum of Modern Art and in What Is a Photograph? (International Center for Photography, New York). In 2013, she exhibited new work in tandem solo exhibitions at Campoli Presti (Paris and London), and group exhibitions at the Museum of Modern Art and the Fotomuseum Winterthur, among others. In 2012, she was included in the Whitney Biennial and had a one-person exhibition at the Secession in Vienna and a two-person exhibition at The Art Institute of Chicago that she co-curated with Florian Pumhösl and Matthew Witkovsky. Previously, her work has also been exhibited at the CCS Bard Hessel Museum, the Aspen Art Museum, Klosterfelde (Berlin), the Walker Art Center, the Langen Foundation (Düsseldorf), the Tate Liverpool, and the Metropolitan Museum of Art. Recent monographs dedicated to Deschenes’s work include Liz Deschenes, Boston: The Institute of Contemporary Art, 2016, and Liz Deschenes, Secession, Vienna: Secession, Berlin: Revolver, 2012. 88 Eldridge Street / 36 Orchard Street, New York, NY 10002 • 212.995.1774 • fax 646.688.2302 [email protected] • www.miguelabreugallery.com MIGUEL ABREU GALLERY LIZ DESCHENES Born in Boston, MA, 1966 Lives and works in New York EDUCATION 1988 Rhode Island School of Design B.F.A. Photography, Providence, RI SOLO EXHIBITIONS 2016 Campoli Presti, Paris, France Institute of Contemporary Art, Boston, MA 2015 Gallery 4.1.1, MASS MoCA, North Adams, MA 2014 Gallery 7, Walker Art Center, Minneapolis, MN Stereographs #1-4 (Rise / Fall), Miguel Abreu Gallery, New York 2013 Bracket (Paris), Campoli Presti, Paris, France Bracket (London), Campoli Presti, London, UK 2012 Secession, Vienna, Austria 2010 Shift / Rise, Sutton Lane, Brussels, Belgium 2009 Right / Left, Sutton Lane, Paris, France Chromatic Aberration (Red Screen, Green Screen, Blue Screen - a series of photographs from 2001 - 2008), Sutton Lane, London, UK Tilt / Swing, Miguel Abreu Gallery, New York 2007 Photographs, Sutton Lane, London, UK Registration, Miguel Abreu Gallery, New York 2001 Blue Screen Process, Andrew Kreps Gallery, New York 1999 Below Sea Level, Andrew Kreps Gallery, New York 1997 Beppu, Bronwyn Keenan Gallery, New York 88 Eldridge Street / 36 Orchard Street, New York, NY 10002 • 212.995.1774 • fax 646.688.2302 [email protected] • www.miguelabreugallery.com SELECTED GROUP & TWO-PERSON EXHIBITIONS 2018 ICA Collection: Entangled In The Everyday, Institute of Contemporary Art, Boston, MA A Page from My Intimate Journal (Part I), Gordon Robichaux, New York, NY 2017 Sol Lewitt & Liz Deschenes, Fraenkel Gallery, San Fransisco, CA PhotoPlay: Lucid Objects, Paris Photo, Grand Palais, Paris, France The Coffins of Paa Joe and the Pursuit of Happiness, The School | Jack Shainman Gallery, Kinderhook, NY Paper as Object, curated by Richard Tinkler, Albert Merola Gallery, Provincetown, MA Serialities, organized by Olivier Renaud-Clement, Hauser & Wirth, New York Plages, Campoli Presti, London Looking Back / The 11th White Columns Annual - Selected by Anne Doran, White Columns, New York 2016 Liz Deschenes / Sol LeWitt, organized with Olivier Renaud-Clement, Miguel Abreu Gallery, New York Sol LeWitt / Liz Deschenes, organized with Olivier Renaud-Clement, Paula Cooper Gallery, New York Visibility, curated by John Miller, Campoli Presti, London Dream States: Contemporary Photographs and Video, The Metropolitan Museum of Art, New York Emanations: The Art of the Cameraless Photograph, curated by Geoff Batchen, Govett-Brewster Art Gallery, New Zealand Pandora's Box, curated by Jan Dibbets, Musée d'Art Moderne, Paris Ordinary Pictures, curated by Eric Crosby Walker Art Center, Minneapolis, MN From Minimalism into Algorithm, The Kitchen, New York 2015 Collected by Thea Westreich Wagner and Ethan Wagner, Whitney Museum of American Art, New York, NY New Skin, curated by Massimiliano Gioni, Aïshti Foundation, Beirut, Lebanon A kind of graphic unconscious, Susan Hobbs, Toronto, Canada The Camera’s Blind Spot II, Extra City Kunsthal, Antwerp, Belgium New Acquisitions, Whitworth Art Gallery, Manchester, UK Bricolage: La souris et le perroquet, Villa Arson, Nice, France 2014 Carl Andre, Liz Deschenes, Richard Prince, R. H. Quaytman, Galerie Buchholz, Cologne, Germany Liz Deschenes / Florian Pumhösl, Galerie Buchholz, Cologne, Germany Back Grounds: Impressions Photographiques (2), organized with Olivier Renaud-Clement, Andrea Rosen Gallery, NewYork, NY Sites of Reason: A Selection of Recent Acquisitions, organized by David Platzker and Erica Papernik, Museum of Modern Art, New York, NY Abandon the Parents, curated by Henrik Olesen, Daniel Buchholz and Christopher Müller, National Gallery of Denmark, Copenhagen, Denmark Formal Abstracts, Paul McCabe Fine Art, Stockholm, Sweden occupy painting, Autocenter, Berlin, Germany What Is a Photograph?, organized by Carol Squiers, International Center of Photography, New York 2013 Cross Over. Photography of Science + Science of Photography, Fotomuseum Winterthur, Switzerland Alchemical, Steven Kasher Gallery, New York Lens Drawings, curated by Jens Hoffmann, Marian Goodman Gallery, Paris, France ambient, curated by Tim Griffin, Tanya Bonakdar Gallery, New York XL: 19 New Acquisitions in Photography, Museum of Modern Art, New York The Black Mirror, curated by James Welling and Diane Rosenstein, Diane Rosenstein Fine Art, Los Angeles, CA The Unphotographable, Fraenkel Gallery, San Francisco, CA 2012 For the Martian Chronicles, L&M Arts, Venice, CA Liz Deschenes, Charlotte Posenenske, Andreas Melas & Helena Papadopoulos, Athens, Greece Photography is Magic!, curated by Charlotte Cotton, Daegu Photo Biennale, Korea Parcours, with Florian Pumhösl, curated by Matthew S. Witkovsky, Art Institute of Chicago, IL Whitney Biennial 2012, curated by Elizabeth Sussman & Jay Sanders, Whitney Museum of American Art, New York Notations: The Cage Effect Today, Hunter College / Times Square Gallery, New York Carl Strüwe in the context of Contemporary Photography, Bielefelder Kunstverein, Bielefeld, Germany accrochage, Miguel Abreu Gallery, New York 2011 The Anxiety of Photography, Aspen Art Museum, Aspen, CO; Arthouse at the Jones Center, Austin, TX If You Lived Here, You’d Be Home By Now, curated by Josiah McElheny, Tom Eccles, and Lynne Cooke, CCS Bard Hessel Museum of Art, Annandale-on-Hudson, NY What's Next? - Four visions on exhibiting photography, Foam, Amsterdam, The Netherlands After Images, Musée Juif de Belgique, Brussels, Belgium Sutton Lane visits Klosterfelde: Liz Deschenes and Scott Lyall, Klosterfelde, Berlin, Germany Chopped & Screwed, MKG127, Toronto, Canada Chaos as Usual, curated by Hanne Mugaas, Bergen Kunsthall, Norway Picture No Picture, Carriage Trade, New York Systems Analysis, Langen Foundation, Neuss, Germany New York to London and Back: The Medium of Contingency, Thomas Dane Gallery, London, UK How Soon Is Now, Garage Contemporary Arts Center, Moscow, Russia 2010 Free, curated by Lauren Cornell, New Museum, New York Systems Analysis, West London Projects, London, UK A Shot in the Dark, Walker Art Center, Minneapolis, MN Item, Mitchell-Innes & Nash, New York Les Rencontres d’Arles Photographie, Arles, France Picture Industry (Goodbye To All That), curated by Walead Beshty, Regen Projects, Los Angeles, CA De Rigueur, Richard Telles Fine Art, Los Angeles, CA Photogenic, Blanket Contemporary Art, Vancouver, British Columbia Blind Mirror, Galleria Raucci/Santamaria, Naples, Italy 2009 Infinitesimal Eternity, Yale University School of Art, New Haven, CT Der Schnitt durch die Oberfläche legt neue Oberflächen frei (The Cut Through the Surfaces Reveals New Surfaces), curated by Max Mayer and Hans-Jürgen Hafner, Temporary Gallery, Köln, Germany FAX, The Drawing Center, New York Collatéral, organized by Yann Chevallier, Le Confort Moderne, Poitier, France Modern Wing Inaugural Installation of Contemporary Photograph, curated by Matthew Witkovski, The Art Institute of Chicago, IL La Vie mode d’emploi: Carl Andre, Martin Barré, Daniel Buren, Liz Deschenes, Sherrie Levine, Cheyney Thompson, Franz West, Sutton Lane, Paris, France Practice vs. Object, curated by Margaret Liu Clinton, Miguel Abreu Gallery, New York To Be Determined, Andrew Kreps Gallery, New York Twilight, Harris Lieberman, New York Photography in the Abstract, curated by Maureen Mahony, Lora Reynolds Gallery, Austin, TX Constructivismes!, curated by Olivier Renaud-Clément, Galerie Almine Rech, Brussels, Belgium 2008 Standard Sizes, curated by João Ribas, Andrew Kreps Gallery, New York The Man Whose Shoes Squeaked, Richard Telles Gallery, Los Angeles, CA Photography on Photography: Reflections on the Medium since 1960, The Metropolitan Museum of Art, New York Color Chart. Reinventing Color, 1950 t0 T0day, curated by Ann Temkin, Museum of Modern Art, New York; Tate Liverpool, UK, 2009 Le Retour, Nice & Fit Gallery, Berlin, Germany 2007 Regroup Show, Miguel Abreu Gallery, New York Group, Sutton Lane c/o Ghislaine Hussenot, Paris, France Strange Magic, Luhring Augustine, New York STUFF – International Contemporary Art from the Collection of Burt Aaron, Museum of Contemporary Art, Detroit, MI Form As Memory, Miguel Abreu Gallery, New York For the People of Paris, Sutton Lane at Ghislaine Hussenot, Paris, France 2006 Bunch Alliance and Dissolve, The Contemporary Arts Center, Cincinnati, OH Vija Celmins, Liz Deschenes, Zoe Leonard, Tracy Williams, Ltd. New York 2005 The Photograph in Question, Von Lintel Gallery, New York 2004 Liz Deschenes / Siobhan Liddell, Gesellschaft fur Aktuelle Kunst, Bremen, Germany 2003 Rethinking Photography V, curated by Ruth Horak, The Forum Stadtpark, Graz, Austria In Full View, Andrea Rosen Gallery, New York Afternoon Delight, curated by Max Henry, Caren Golden Fine Art, New York Back Grounds, curated by Olivier Renaud-Clément, Andrew Kreps Gallery, New York 2002 Back Grounds, curated by Olivier Renaud-Clément, Galerie Nelson, Paris, France Modern Photographs from the Collection, Metropolitan Museum of Art, New York State of the Gallery, Andrew Kreps Gallery, New York 2001 Salon Style, Plus Ultra, Brooklyn, NY [Some] Photography [Abstract], Larry Becker Gallery, Philadelphia, PA Overnight to Many Cities, curated by Collier Schorr, 303 Gallery, New York; Photographer’s Gallery, London, UK, 2002 In the landscape, Silverstein Gallery, New York Rocks and Trees, curated by David Armstrong, Photographic Resource Center, Boston, MA Serial Number, Gale Gates, curated by Lauren Ross, Brooklyn, NY Hydro, Marcel Sitcoske Gallery, curated by Erin Parrish, San Francisco, CA The Cathedral Project: Liz Deschenes, Kevin Larman, Donald Moffett, curated by Katherine Gass, The Cathedral Church of St. John the Divine, New York 1998 Sea Change: The Seascape in Contemporary Photography, curated by Trudy Wilner Stack, Center for Creative Photography Museum, University of Arizona, Tucson, AZ; International Center of Photography, New York, 1999; Museum of Photographic Arts, San Diego, CA, 2001 Tenri Bienale 1998, Doyusha Gallery, Tokyo; Osaka Municipal Museum of Art, Osaka; Hokutopia, Tokyo; Niigata Prefectural Civic Centre, Niigata; Fukuoka Prefectural Museum of Art, Fukuoka; and Aichi Prefectural Museum of Art, Aichi, Japan 1996 Water, James Graham & Sons, New York Liz Deschenes, Drew Dominick, Susan Silas, Jose Freire Gallery, New York 1991 Outrageous Desire, Rutgers University, Mason Gross School of the Arts, DAB Galleries, New Brunswick, NJ CURATION 2016 Sarah Charlesworth: Selected by Liz Deschenes, Campoli Presti, Paris, France 2015 Artist’s Choice: An Expanded Field of Photography, MASS MoCA, North Adams, MA 2000 Photography About Photography, Andrew Kreps Gallery, New York PUBLICATIONS & CATALOGUES Alchemical. New York: Steven Kasher Gallery, 2013. p. 14. (exh. cat.) Barliant, Claire, and Michelle Yun, eds. Notations: The Cage Effect Today. New York: Hunter College/Times Square Gallery, 2012. pp. 34-35. (exh. cat.) Cattelan, Maurizio, Bettina Funcke, Massimiliano Gioni and Ali Subotnick. Charley, 01. Dijon: Les Presses Du Réel, 2002. Collatéral. Poitiers: Le Confort Moderne; London: Sutton Lane; Leipzig: Lubok, 2010. pp. 12, 21. (exh. cat.) Cotton, Charlotte. Photography is Magic!. Daegu: Daegu Photo Biennale, 2012. pp. 68-69. (exh. cat.) Cotton, Charlotte. The Photograph as Contemporary Art. London: Thames & Hudson, 2009. Crosby, Eric, ed. Ordinary Pictures. Minneapolis: Walker Art Center, 2016. pp. 86 - 87. (exh. cat.) Fraenkel, Jeffrey, and Frish Brandt, eds. The Unphotographable. New York: Fraenkel Gallery, 2012. p. 31. (exh. cat.) Great 41, London: The Photographer’s Gallery, 2002. (exh. cat.) Griffin, Tim, ed. How Soon Is Now?. Zurich: Luma Foundation, 2012. pp. 33-44. (exh. cat.) Horak, E. Ruth, ed. Rethinking Photography 1+11: Narration and New Reduction in Photography. Salzburg: Fotohof Editions, 2003. pp. 306-315. (exh. cat.) Hostetler, Sue, et al. Oceans. New York: Rizzoli, 2002. Jaeger, Gottfried, Rolf H. Krauss, and Beate Reese. Concrete Photography. Bielefeld: Kerber, 2005. pp. 224-25. Mackay, Robin, ed. The Medium of Contingency. London: Urbanomic; London: Ridinghouse, 2011. (exh. cat.) Meade, Fionn, et al. After Images. Brussels: Musée Juif de Belgique, 2011. pp. 52-55. (exh. cat.) Michaels, Walter Benn. The Beauty of a Social Problem. Chicago: The University of Chicago Press, 2015. Müller, Christin, ed. Cross Over. Photography of Science + Science of Photography. Witherthur: Fotomuseum Winterthur; Leipzig: Spector, 2013. pp. 88-89. (exh. cat.) Respini, Eva, ed. Liz Deschenes. Munich: Prestel Publishing; Boston: The Institute of Contemporary Art, 2016. Salo, Marcia, and Jonathan Weinberg. Outrageous Desire: The Politics and Aesthetics of Representation in Recent Works by Lesbian and Gay Artists. New Brunswick: Rutgers University Press, 1991. (exh. cat.) Schneider, Christiane Maria, ed. Systemanalyse. Neuss: Langen Foundation; Wuppertal: Prometheus, 2011. pp. 16- 17, 56-57. (exh. cat.) Schorr, Collier, ed. Overnight to Many Cities: Tourism and Travel at Home and Away. London: The Photographer's Gallery, 2002. (exh. cat.) Spoerr, Bettina, and Tina Lipsky, eds. Liz Deschenes – Secession. Vienna: Secession; Berlin: Revolver, 2012. Squiers, Carol, ed. What Is a Photograph?. New York: International Center of Photography; Munich: Delmonico/Prestel, 2013. pp. 96-103. (exh. cat.) Stack, Trudy Wilner, et al. Sea Change: The Seascape in Contemporary Photography. Tucson, AZ: CCP, University of Arizona, 1998. (exh. cat.) Sussman, Elisabeth, and Jay Sanders, eds. Whitney Biennial 2012. New York: Whitney Museum of American Art, 2012. pp. 92-93. (exh. cat.) Temkin, Ann, and Briony Fer. Color Chart: Reinventing Color, 1950 to Today. New York: The Museum of Modern Art, 2008, p. 212-15. (exh. cat.) Thompson, Matthew. The Anxiety of Photography. Aspen: Aspen Art Museum, 2011. pp. 132-142. (exh. cat.) SELECTED BIBLIOGRAPHY 2016 Respini, Eva. “On Defiance: Experimentation as Resistance,”Aperture #225, Winter “Liz Deschenes / Sol LeWitt,” Goings On About Town: Art, The New Yorker, September 26 “500 Words: Liz Deschenes,” Artforum.com, July 25 Baumgardner, Julie. “Photo finish: Liz Deschenes’ conceptual images take over the ICA in Boston,” Wallpaper, July Fore, Devin. “Summer Preview: Liz Deschenes,” Artforum, Vol. 54, No. 9, May 2015 Williams, Jonathan Bruce. “Liz Deschenes,” The Third Rail, Issue 5 Hatt, Étienne. “Paradoxical Abstraction,” Art Press, March “Liz Deschenes at the Walker Art Center,” Aperture, January 21 2014 Ballard, Thea. “How to Light a Show: Liz Deschenes Turns the Gallery Into a Camera,” Modern Painters, December Dash, N. “N. Dash on Liz Deschenes,” Art in America, August Johnson, Ken. “Words That Do More Than Signify,” Art in Review, The New York Times, July 3 “Liz Deschenes,” Goings on About Town, The New Yorker, June 9-16 Schwendener, Martha. “Liz Deschenes: Stereographs #1-4 (Rise/Fall),” Art in Review, The New York Times, May 16 “Liz Deschenes, ‘Stereographs #1-4’,” Time Out New York, May 15-21 Marcoci, Roxana. “Radical Looking: In the Presence of the Image, In the Absence of the Spectacle,” Mousse, No. 43 Pollack, Maika. “’What is a Photograph?’ at the International Center of Photography,” GalleristNY.com, February 12 Ollman, Leah. “In a digital world, New York show wonders 'What Is a Photograph',” Los Angeles Times, February 22 Rexer, Lyle. “A New Exhibition Asks, What Is a Photograph, Anyway?,” LightBox.Time.com, January 30 Applin, Jo. “Liz Deschenes,” Artforum, January Charlesworth, “Liz Deschenes Bracket (London),” ArtReview, January-February 2013 Allison, Genevieve. “Critics’ Picks: ‘Ambient,’ Tanya Bonakdar Gallery,” Artforum.com, July Císâr, Karel. “Introduction: Photography After Recession,” Fotograf, No. 21 Beshty, Walead. Ed., Blind Spot, No. 46 O’Neill-Butler, Laura. “Seceding: A Conversation with Liz Deschenes,” The Paris Review, January 22 2012 Kasten, Barbara. “Best of 2012, The Artists’ Artist: Parcours,” Artforum, December Bailey, Stephanie. “Critics’ Picks: Charlotte Posenenske and Liz Deschenes,” Artforum, November Gallun, Lucy. “Surface and Light: Liz Deschenes,” Inside/Out: a MoMA / PS1 Blog, July 12 Tutter, Adele. “Finding Art in Empty Space: Responses to John Cage,” artcritical, April 19 Battista, Kathy. “Whitney Biennial,” Art Monthly, April Baker, Kenneth. “The Whitney: 2012 Biennial,” San Francisco Chronicle, April 1 Peterson, Kathleen. “Liz Deschenes,” BOMB, No. 119, Spring Sholis, Brian. “In the Studio: Liz Deschenes,” Art in America, March Viveros-Faune, Christian, “The Whitney Biennial 2012 – Caution: Dead End,” The Village Voice, March 7 “Goings on About Town: Art,” The New Yorker, March 5 - 11 McGarry, Kevin. “Out There, Live From the Whitney Biennial,” T Magazine Blog, March 2 Esplund, Lance. “Killer, Security Guard Enliven Whitney Biennial: Lance Esplund,” Bloomberg, March 1 Pollack, Maika. “Be Here Now: Eccentric Historicism Emerges at the 2012 Whitney Biennial,” Gallerist NY, Feb. 28 2011 Whiley, Chris. “Depth of Focus,” Frieze, November Kröner, Magdalena. “Form, Fragment, Formation. Aktuelle Tendenzen der Abstrakten Fotografie,”Kunstforum International, Jan/Feb 2010 Smith, Roberta. “The Varieties of Abstract Experience,” The New York Times, August 6 Witkovsky, Matthew. “Another History,” Artforum, March Greenberger Rafferty, Sara. “Chemical Dependence Liz Deschenes,” Fantom, Winter Launay, Aude. “Liz Deschenes, Rebecca Quaytman, Meredyth Sparks,” Zero Deux, Issue 52, Winter 09/10 2009 Bedford, Christopher. “Depth of Field,” Frieze, September Knight, Nicholas. “Liz Deschenes, Tilt/Swing,” Eponanonymous, May Roesenberg, Karen. “Liz Deschenes, Tilt / Swing,” The New York Times, May 29 Doran, Anne. “Liz Deschenes, Tilt / Swing,” Time Out New York, Issue 712, May 21-27 2008 Walleston, Aimee. “Sight Specificity,” Tokion, September Gardner, James. “Message in the Medium,” The New York Sun, April 17 Ross, Lauren. “Liz Deschenes at Miguel Abreu,” Art in America, January 2007 “Liz Deschenes, Moirés,” Blind Spot, Issue 36 (photography project) “Strange Magic,” The New Yorker, July 23 Rosenberg, Karen. “An Afternoon in Chelsea,” New York Magazine, July 23 Smith, Roberta. “Strange Magic,” The New York Times, July 13 Burton, Johanna. “Liz Deschenes,” Artforum, Summer Smith, Roberta. “Liz Deschenes, Registration,” The New York Times, May 18 “Liz Deschenes,” The New Yorker, May 21 Sholis, Brian. “Liz Deschenes,” Artforum.com, April/May O’Neill-Butler, Lauren. “Liz Deschenes,” Time Out New York, May 3-9 McAdams, Shane. “Liz Deschenes,” The Brooklyn Rail, May Orden, Abraham. “The Minute,” Artnet.com, May 2006 Johnson, Ken. “Zoe Leonard, Liz Deschenes, and Vija Celmins,” The New York Times, July 28 “Vija Celmins, Liz Deschenes, Zoe Leonard,” The New Yorker, July 2005 “The Photograph in Question,” The New Yorker, July 2004 Robillard-Krivda, Eva. “Back Grounds: Impressions Photographiques," paris-art.com, March 2003 Wilson, Michael. “New York Critics Pick; Back Grounds: Impressions Photographiques,” Artforum, March “Liz Deschenes,” Charley, 2002, p. 382 Williams, Gregory. “Flux Interior,” Interior Design, August Smith, Roberta. “Quick as a Shutter, Group Shows Shatter Conventional Wisdom,” The New York Times, July 6 Sundell, Margaret. “Liz Deschenes,” Artforum, May Valdez, Sarah. “Serial Number,” Time Out New York, February 8 - 15 Aletti, Vince. “Photography About Photography,” The Village Voice, March 7 Henry, Max. Artnet.com, February 1999 Myoda, Paul. Flash Art, Issue 209, Nov/Dec Arning, Bill. Time Out New York, Issue 202, August 5-12 Aletti, Vince, The Village Voice, July 20 Cotter, Holland. The New York Times, July 16 Neal, Alex. Time Out New York, Issue 193, June 10-17 1998 Brennan, Michael. Artnet.com, February 13 Zing Magazine, “Bath Houses,” Volume 2, Winter (photography project) 1997 Glueck, Grace. The New York Times, November 7 TEACHING 2006 - present Faculty, Bennington College, Bennington, VT 2004 - present Visiting Artist, Columbia University, New York 2003 - present Adjunct Professor, School of Visual Arts, MFA Photography and Related Media Department, New York 2008 - 2010 Visiting Artist, Yale University, MFA Painting and Printmaking Department, New Haven, CT 2006 - 2007 Visiting Professor of Photography, Bard College, Annandale-on-Hudson, NY 2006 Milton Avery School of Arts, Bard College, Annandale-on-Hudson, NY 2000 - 2006 Instructor, International Center of Photography, New York LECTURES & TALKS 2016 Discussion with Liz Deschenes, Eva Respini, and Lynne Tillman for the launch of Liz Deschenes, New York Public Library, New York From Minimalism into Algorithm, panel discussion with Andrea Crespo, Liz Deschenes, Hayal Pozanti, and Alex Provan, The Kitchen, New York 2015 Liz Deschenes on “Sarah Charlesworth: Doubleworld”, New Museum, New York 2014 On a Silver Surface: Historical and Contemporary Practices with Gelatin Silver Prints, as part of the symposium Reconsidering the Object: Researching Interwar Photography in the Digital Age, Museum of Modern Art, New York Rappaport Prize Lecture, Massachusetts College of Art and Design, Boston, MA Photography Is____, panel discussion on the work of Sarah Charlesworth, with Laurie Simmons, Sara VanDerBeek, Liz Deschenes, and Kate Linker, Art Institute of Chicago, IL 2012 Artist talk with Florian Pumhösl, Secession, Vienna, Austria Abstraction in Photography, MoMA’s Forum on Contemporary Photography Artists in Conversation: Parcours, Art Institute of Chicago, IL Art Talks Series, The Art Institute of Boston at Lesley University, MA 2009 Chicago Humanities Festival: Photography Discussion with Gaylen Gerber and Matthew Witkovsky, Art Institute of Chicago, IL