b. 1951 Ohio,
lives in New York City
Stux Gallery, New York, NY
Steinbaum, Miami, Fl.
31 Gallery, Seattle, WA
Gallery, New York, NY
Byron Cohen Gallery, Kansas City
Taylor Gallery, New York, NY
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
de la Tour, Amsterdam, The Netherlands
Berkowitz, Kansas City, MO.
de la Tour, Amsterdam, The Netherlands (Catalogue)
Branston Gallery, San Francisco, CA.
Gallery, New York, NY.
Howard Yezerski, Boston, MA.
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,
1982 San Diego
State University, CA.
Museum, Riverside, CA.
1980 Kirk de
Gooyer Gallery, Los Angeles, CA
Gallery, Los Angeles, CA.
SELECTED GROUP EXHIBITIONS:
Away, Museum of Art & Design, New York, NY
Full of Grace, Palm Beach Photographic Center, Palm Beach, FL
To Be Human, Tinney Contemporary, Nashville, TN
Beuys: Coyote, The Large Glass, London
Objects and Paintings, The Large Glass, London
Dirt: the Filthy Reality of Everyday Life, Wellcome Trust,
London, Kate Forde, curator.
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,
Materials, Memorial Art Gallery, Univ. of Rochester. NY
James Croak, Eric Fischl, Tony Sherman, Winston Wachter,
Museum Tenth Anniversary Show, Kemper, KCMO
2004 To Die
For, Heidi Cho Gallery, New York, NY
Identity – Körpersprache. Museum für Angewandte Kunst,
Klingspor Museum, Offenbach, Museum of Art & Design, NYC.
Gallery, Houston, TX.
2000 New York
Classicism Now, Hirschl & Adler Gallery, catalog
Bodies, Limelight, New York, NY, curated by Plum Projects
1999 The Nude
in Contemporary Art, Aldrich Museum of Contemporary Art. CN
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,
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,
curated by Reesey Shaw. (Catalogue)
B.A.B.Y. Hand Workshop Art Center, VA, Virginia Center for the
Arts, VA, (Catalogue)
and Outlooks, Dunedin Fine Art Center, Tampa Fl
Der Beurs, Amsterdam, The Netherlands
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.
Inventario, Studio D’ La Citta, Verona, Italy
I am the Enunciator, Thread Waxing Space, New York, NY.
Christian Leigh curator, (Book).
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,
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
Natura (Body & Soil) Fernando Alcolea,
Barcelona, Spain. (Catalogue)
Spellbound, Marc Richards Gallery, Los Angeles, CA.
Christian Leigh, curator (Book)
Nature of the Beast, Hudson River Museum, NY,
Barbara Bloemink, curator (Catalogue).
The Dark Sublime, Scott Allan Gallery, New York, NY, Suzaan
1988 The Edge:
An Examination of the State of Things, 38th International
Aspen, Colorado, curated by Jay Chiat and Henry Wolf. Featured
and large scale commission.
1987 Art on
the Beach, Creative Time, New York , NY (Annual site-specific
competition for large scale
1985-86 AVA4, Awards in the Visual
Arts, Albright Knox, Buffalo, NY
Institute of Contemporary Art, Philadelphia, PA., Southeastern
Center for Contemporary Art, (Catalogue)
Automobile and Culture, MOCA, Los Angles, Ca. Detroit
Institute of Art., Detroit MI. Walter Hopps curator, Ivan
Chermayeff designer, (Book)
GRANTS, AWARDS, COMPETITIONS:
1988 New York
Foundation for the Arts Fellowship
1987 Art on
the Beach, Creative Time, New York , NY
Krasner Foundation Fellowship
1985 Awards in
the Visual Arts, AVA4,
Endowment for the Arts
Endowment for the Humanities
sculpture garden, Palm Beach, Fl.
sculpture garden, Rotterdam, The Netherlands.
Pierre, lobby commission, Swanke, Hayden, Connell
Design Conference, Aspen, CO large scale sculpture commission.
Time / New York City Port Authority, large scale commission
(with architects Kreuger & Kaplan).
1975-76 NEA (6) large scale sculpture
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)
Deborah DiBlasi, Pitch Weekly, “Dirty Work,” March, 2001
David Bonetti, San Francisco Examiner, “Gallery Watch,” May,
Suzaan Boettger, Sculpture, “Dirt Works,” November- December
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”
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,
Hunter Drohojowska, Artforum, “Young Turks Review,” February
High Performance, “Young Turks Review,” Fall, 1981.
New West, “The Artist Armed,” September 1982.
James Croak: New Myths and Heroic Allegories, (Los Angeles:
Wolf Von Eckart, Time Magazine, “Auto Intoxication,” September
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
Suvan Geer, Los Angeles Times, Review of “Spellbound,” Oct.,
Jonathan Gilmore, Art In America, Review of Stux 2001 show,
Grace Glueck, New York Times, Review of “Corporal Identity,
Katrien Gottlieb, Het Parool (Netherlands), February 1994.
Jonathan Goodman, Sculpture, Review of 2001 Stux show, May
Doris Grootenboer, Algemeer Dagblad (Netherlands), February
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,”
Ken Johnson, New York Times, review of “Show of Hands” May 21,
New York Times, review of “New York Classicism Now,” Sept. 9,
Vincent Katz, ArtNews, review of “Dirt Man” show, September
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,”
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
Robert Mahoney, Edifice Rex, “Review of NY Classicism Now,”
Mary Ann Marger, Times, “Art Beat,” September 1995
Neil Mathews, California Magazine, “Heist of the Year.”
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
Sculpture in the Age of Doubt (New York: Allworth Press, 1999)
“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,”
Luigi Meneghelli, Flash Art, Review of “Niente di Nuovo,”
Saskia Monshouwer, Alert, “Galerie de la Tour: Vitale Kunst,”
Harry Mulisch, The Procedure, (New York, Viking, 2001) cover
Suzanne Munchnic, Los Angeles Times, “Animal Magnetism,”
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
Peter Schjeldahl, The New Yorker, “Going Ons About Town,” Nov.
Nancy Stapen, Boston Globe, reviews, March 1994 5
Bianca Stigter, Handelsblad (Amsterdam, The Netherlands),
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
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
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