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James Croak

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b. 1951 Ohio, lives in New York City

SOLO EXHIBITIONS:
 

2012         Stux Gallery, New York, NY

2006         Bernice Steinbaum, Miami, Fl.
2004         Atelier 31 Gallery, Seattle, WA
2001         Stux Gallery, New York, NY
                Byron Cohen Gallery, Kansas City
2000         Brenda Taylor Gallery, New York, NY
1999         James Croak Twenty-Year Survey, Traveling museum show, Contemporary Art Center, VA.
                And other venues. Book by Thomas McEvilley (NY: Abrams, 1999)
                Stefan Stux Gallery, New York, NY
1998         Galerie de la Tour, Amsterdam, The Netherlands
1997         Cohen Berkowitz, Kansas City, MO.
1996         Galerie de la Tour, Amsterdam, The Netherlands (Catalogue)
1995         Rena Branston Gallery, San Francisco, CA.
1994         Stux Gallery, New York, NY.
                Howard Yezerski, Boston, MA.
1991         Blum Helman, New York, NY
                Galerie Van der Tann, Berlin, Germany.
                Fernando Alcolea Gallery, New York, NY.
1989-90     Hudson River Museum, NY.
1983         The Otis Art Institute of Parsons School of Design, Los Angeles, CA. curated by Al Nodal, 
                (Catalogue)
1982         San Diego State University, CA.
1981         Riverside Museum, Riverside, CA.
1980         Kirk de Gooyer Gallery, Los Angeles, CA
1978         Janus Gallery, Los Angeles, CA.

SELECTED GROUP EXHIBITIONS:

2012         Swept Away, Museum of Art & Design, New York, NY

2012         Full of Grace, Palm Beach Photographic Center, Palm Beach, FL

2012         To Be Human, Tinney Contemporary, Nashville, TN
2011         Joseph Beuys: Coyote, The Large Glass, London        

2011         Objects and Paintings, The Large Glass, London        

2011         Dirt: the Filthy Reality of Everyday Life, Wellcome Trust, London, Kate Forde, curator.         

2010         Map Marathon, Serpentine Gallery, London Hans Ulrich Obrist, curator

2007         All the More Real: Portrayals of Intimacy and Empathy.

                Curated by Eric Fischl. The Parrish ArtMuseum. Southampton, NY.

2006         Extreme Materials, Memorial Art Gallery, Univ. of Rochester. NY
2005         Triad, James Croak, Eric Fischl, Tony Sherman, Winston Wachter, Seattle WA
2004         Kemper Museum Tenth Anniversary Show, Kemper, KCMO
2004         To Die For, Heidi Cho Gallery, New York, NY
2003         Corporal Identity – Körpersprache. Museum für Angewandte Kunst, Frankfurt,
                Klingspor Museum, Offenbach, Museum of Art & Design, NYC. catalog
2002         New Gallery, Houston, TX.
2000         New York Classicism Now, Hirschl & Adler Gallery, catalog
2000         Multiple Bodies, Limelight, New York, NY, curated by Plum Projects
1999         The Nude in Contemporary Art, Aldrich Museum of Contemporary Art. CN
1998         Summer Show, Jason McCoy Gallery, New York, NY
                The Fields, sculpture park, Ghent, NY
1997         Kunst Rai, Amsterdam, The Netherlands
                Landart, (collaborative tableau) Galerie de la Tour, Amsterdam,
1996         New York: Body Language, Art Museum of Florida State University
                curated by Judith Page & Adam Straus, (Catalogue).
                Preview-Review, Cohen Berkowitz Gallery, Kansas City, MO
                Narcissism, California Center for the Arts Museum, Escondido, CA
                curated by Reesey Shaw. (Catalogue)
                B.A.B.Y. Hand Workshop Art Center, VA, Virginia Center for the
                Arts, VA, (Catalogue)
1995         Insights and Outlooks, Dunedin Fine Art Center, Tampa Fl
                Der Beurs, Amsterdam, The Netherlands
1994         The Riddle of the Sphinx, Islip Art Museum, NY
                Zomerexpositie, Galerie De La Tour, Amsterdam
                Praticamente Argento, Studio D’ La Citta, Verona, Italy
                Babies and Bambies, Maatschappij Arti et Amicitiae, Amsterdam,
                The Netherlands, Nina Folkersma, curator. (Catalogue)
                Across The River And Into The Trees, The Rushmore Festival, NY
                Collins & Milazzo, curator. (Catalogue)
                Heads & Figures, Carl Schlossberg Fine Arts, Los Angeles, CA.
1993         Inventario, Studio D’ La Citta, Verona, Italy
                I am the Enunciator, Thread Waxing Space, New York, NY.
                Christian Leigh curator, (Book).
1992         James Croak, Dan Flavin, Marcello Jori, Sol le Witt,
                New York Kunsthall.
                Niente di Nuovo, La Positiva Assenza di Originalità Nell’Arte,
                Studio D’ La Citta, Verona, Italy, Anthony Iannacci, curator, (Catalogue)
                Childhood: Imitation and Perception, Thomas Broadbent curator,
                Henry Street Resettlement Center, NY, New York
1991-92     Childhood Revisited, Rena Bransten Gallery, San Francisco, CA
                Art Now, London, England
                Child’s Play, Lawrence Oliver Gallery, Philadelphia, PA
1990         Contra Natura (Body & Soil) Fernando Alcolea,
                Barcelona, Spain. (Catalogue)
                Spellbound, Marc Richards Gallery, Los Angeles, CA.
                Christian Leigh, curator (Book)
1989         The Nature of the Beast, Hudson River Museum, NY,
                Barbara Bloemink, curator (Catalogue).
                The Dark Sublime, Scott Allan Gallery, New York, NY, Suzaan Boettger, curator
1988         The Edge: An Examination of the State of Things, 38th International Design Conference,
                Aspen, Colorado, curated by Jay Chiat and Henry Wolf. Featured speaker
                and large scale commission.
1987         Art on the Beach, Creative Time, New York , NY (Annual site-specific competition for large scale
                commission.)
1985-86     AVA4, Awards in the Visual Arts, Albright Knox, Buffalo, NY
                Institute of Contemporary Art, Philadelphia, PA., Southeastern
                Center for Contemporary Art, (Catalogue)
1984         Automobile and Culture, MOCA, Los Angles, Ca. Detroit
                Institute of Art., Detroit MI. Walter Hopps curator, Ivan
                Chermayeff designer, (Book)

GRANTS, AWARDS, COMPETITIONS:

1988         Art Matters, Inc.
1988         New York Foundation for the Arts Fellowship
1987         Art on the Beach, Creative Time, New York , NY
1987         Pollock Krasner Foundation Fellowship
1985         Awards in the Visual Arts, AVA4,
1976         National Endowment for the Arts
1973         National Endowment for the Humanities

COMMISSIONS:
 

2004         Private sculpture garden, Palm Beach, Fl.
1996         Private sculpture garden, Rotterdam, The Netherlands.
1995         The Pierre, lobby commission, Swanke, Hayden, Connell
1988         Aspen Design Conference, Aspen, CO large scale sculpture commission.
1987         Creative Time / New York City Port Authority, large scale commission
                (with architects Kreuger & Kaplan).
1975-76     NEA (6) large scale sculpture commissions.

PUBLICATIONS (by James Croak):

Reviews, Artnet, 2003
Reviews, Sculpture Magazine, 2003
The Dig, Writing on 9/11 (New York: Salon, 2002)
The Dig, Salon, Sept 19, 2001
New Skins for the Coming Monstrosities, Project for Atlantic, Madrid. Fall 1997.
The History of Everything, fr. The Silent Baroque, Christian Leigh, editor (Salzburg: Thaddaeus Ropac, 1989)
Flashart International, reviews, Italy 1990-1992.
An’kani, fr. Babies & Bambies, Nina Folkersma, editor. (Amsterdam: Maatschappij Arti et Amicitiae, 1994)
Vertigo Differance, fr. Vertigo, Christian Leigh, editor (Paris: Thaddaeus Ropac, 1991) (French / English).
Exile, play (James Croak & Penn Young). 1994
Staying Up, play (James Croak & Penn Young). 1995

SELECTED PUBLICATIONS (about James Croak):

Teresa Anna, The Virginian-Pilot, “Baby Boom,” January, 1997.
“Interview with the Artist,” September., 1998
Sandy Ballatore, Images & Issues, “James Croak’s New Myths,” Winter Issue, 1984
Alf Bå rtvedt, Impressions, (Oslow: H. Aschehoug & Co., 1996) pp. 224
Deborah DiBlasi, Pitch Weekly, “Dirty Work,” March, 2001
David Bonetti, San Francisco Examiner, “Gallery Watch,” May, 1995
Suzaan Boettger, Sculpture, “Dirt Works,” November- December 1992
James R.Chiles, Smithsonian Magazine, March 1985.
Judy Collins, Sculpture Today, (London: Phaidon, 2007)
Michele Cone, Artscribe, “Reviews,” Fall 1991.
Thomas Csaszar, Sculpture, Reviews, September, 1999.
Dr. Jerry Cullum, Art Papers Magazine, “ Crossing Borders” November, 1999
Atlanta Journal-Constitution, review of “NYC”, January, 2003
Robert Curcio, Cover, Reviews, May, 1999
Collins & Milazzo, Catalogue “Across The River and Into the Trees,” June 1994
Catherine Dorsey, Port Folio Magazine, Birth of An Exhibit, January 1997.
Hunter Drohojowska, Artforum, “Young Turks Review,” February 1982.
High Performance, “Young Turks Review,” Fall, 1981.
New West, “The Artist Armed,” September 1982.
James Croak: New Myths and Heroic Allegories, (Los Angeles: Otis-Parsons, 1983)
Wolf Von Eckart, Time Magazine, “Auto Intoxication,” September 1984.
Mark St. John Erickson, Daily Press, “Heavy Art Done with a Light Touch,” December, 1998
John Fairley, The Art of the Horse, (New York: Abbeville Press, 1995) pp. 178-179.
Colin Gardner, Artweek, “Revising the Archetype,” November 1983.
Suvan Geer, Los Angeles Times, Review of “Spellbound,” Oct., 1989.
Jonathan Gilmore, Art In America, Review of Stux 2001 show, January 2002
Grace Glueck, New York Times, Review of “Corporal Identity, December 2003
Katrien Gottlieb, Het Parool (Netherlands), February 1994.
Jonathan Goodman, Sculpture, Review of 2001 Stux show, May 2002.
Doris Grootenboer, Algemeer Dagblad (Netherlands), February 1994.
Ritva Haavikko, Hevonen Taiteessa, Runoudessa Historiassa, (Helsinki: Werner Soderstrom, 2003) 4
Kathleen Hagarty, Los Angeles Times, “Reviews,” February 1982.
Pamela Hammond, Images & Issues, “Forms in Space,” March 1985.
Hellen A. Harrison, New York Times, review of “The Riddle of the Sphinx.” Nov 1994.
Eleanor Heartney, Arts, “Reviews,” June 1984.
Anthony Iannacci, Titolo (Italy), “La Positiva Assenza Di Originalità Nell’Arte,” October 1992 segno (Italy),
“Niente di Nuovo,” Flashart August 1992
Tom Jacobi, Stern (Germany), “Die Cowboys Haben Umgesattelt,” March 1985.
Ken Johnson, New York Times, review of “Show of Hands” May 21, 1999
New York Times, review of “New York Classicism Now,” Sept. 9, 2000
Vincent Katz, ArtNews, review of “Dirt Man” show, September 1994.
Elizabeth Kirsch, Kansas City Star, Review: “Ashes to Ashes Dirt to Dirt,” May 1997
Christopher Knight, Los Angeles Herald Examiner, “An Artist Who Thrives on Disorder,” July 1981.
Los Angeles Herald Examiner, “The Bizarre Art of James Croak,” Nov 1983.
Joyce Korotkin, The New York Art World, Review:“New York Classicism Now” Sept. 2000
Michael Kimmelman, New York Times, “Review of The Dark Sublime,” Oct, 1989
Helen Kosher, Artweek, “Nighttime Moves,” March 1980.
Kim Levin, Village Voice, “reviews,” March 1994
Sven Lütticken, Het Parool, “Overleven in een hond,” January 1996
Robert Mahoney, Edifice Rex, “Review of NY Classicism Now,” June, 2000
Mary Ann Marger, Times, “Art Beat,” September 1995
Neil Mathews, California Magazine, “Heist of the Year.” February 1982.
Thomas McEvilley, “Strategies for Survival,” catalogue essay fr. New Skins for the
Coming Monstrosities (Amsterdam: Galerie de la Tour, 1996)
Sculpture, “The Millennial Figure,” October 1997.
James Croak (New York: Harry N. Abrams, 1999) 146pp, 108 illus.
Sculpture in the Age of Doubt (New York: Allworth Press, 1999) 448pp,
“Reassembling the Pieces: The Sculpture of James Croak,”
George Melrod, Art & Antiques, “Openings,” June 1997
Joanne Milani, The Tampa Tribune, “Some scenes for a crisis,” September 1995.
Luigi Meneghelli, Flash Art, Review of “Niente di Nuovo,” Summer 1992.
Saskia Monshouwer, Alert, “Galerie de la Tour: Vitale Kunst,” September 1996
Harry Mulisch, The Procedure, (New York, Viking, 2001) cover
Suzanne Munchnic, Los Angeles Times, “Animal Magnetism,” November 1983.
Los Angeles Times, “Lightning and Melodrama,” February 1980.
Los Angeles Times, “MOCA Marks A Milestone,” December 1988.
Edith Newhall, New York, “Down to Earth,” Oct 29, 2001
Paul Bob, Esquire, “The Art of James Croak,” June 1984.”
Peter Plagens, Art in America, “LA Roundup,” April 1985.
Michael Salgado, L.A. Weekly, “Pick of the Week,” November 1983.
Peter Schjeldahl, The New Yorker, “Going Ons About Town,” Nov. 2001
Nancy Stapen, Boston Globe, reviews, March 1994 5
Bianca Stigter, Handelsblad (Amsterdam, The Netherlands), February 1994.
Edward Lucie Smith, American Art Now, (New York: William Morrow & Co. Inc., 1985) Frontispiece.
Edward Sozanski, The Philadelphia Inquirer, Review of “Child’s Play,” October 1991.
Marina de Vries, Het Parool, “Madurodam van Landart,” April 1997.
Barrett Watten, Artweek, “A Condition of Loss,” January, 1992.
John Welchman, “Peeping Over the Wall,” fr. Narcissism: Artists Reflect Themselves
(Escondido: California Center for the Art Museum, 1996) pp. 19-20, 29, 60.
William Wilson, Los Angeles Times, “The Automobile as Artistic Challenge,” July 1984.
Los Angeles Times, Ars Longa, review of “Automobile & Culture” curated by Walter Hopps’, August 1982.
Los Angeles Times, “California Sculpture Dreaming,” August 1982
Los Angeles Times, “Reviews,” July 1980.
Los Angeles Times, “Reviews,” September 1978.
William Zimmer, “The Body, Ever the Subject, Never Out of Style,” New York Times, August 8, 1999
Leslie Wolf, LA Weekly, “Art of the Week,” November 1983

 

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