2009DIYPDC, The Pacific Design Center, West Hollywood, CA
2007…drawling, stretching and fainting in coils…, FestSpiele + 2007, Pinakothek der Moderne and Nationaltheater, Munich, Germany (cat.)
1999A living Theatre, Salzburger Kunstverein, Austria (cat.)
1997Places that are elsewhere, David Zwirner, New York
1996Persona, The Renaissance Society at the University of Chicago, IL
Sampler 2-More Videos from Southern California,David Zwirner, New York
CONFERENCES, LECTURES, AND PUBLIC PRESENTATIONS
2010Otis College of Art and Design, Los Angeles
Garfield Undergraduate Lecture Series, Roski School of Fine Arts, Los Angeles
2009The Museum's Future Perspectives, New Museum, New York
2007Conversations with Michael Govan, Los Angeles County Museum of Art, Los Angeles
2005Film is Art: The Spiral Jetty, Dia Center for the Arts, New York
2003404 Object Not Found: What remains of media art? International congress concerning the production, presentation and preservation of media arts, Work Group 2, Dortmund, Germany
2002Film is Art: The Spiral Jetty, Dia Center for the Arts, New York
Panel discussion with Susanne Ghez on the occasion of the Award for Curatorial Excellence, Bard College, Annandale-on-Hudson, NY
Ecology, Community Planning, and Social Challenges in Panama, Fulbright-Hays 2002 Group Projects Award, Panama City, Panama
Not Good Enough, Santa Monica Museum of Art, Santa Monica, CA
2001Panel discussion 'Making Time,' UCLA Hammer Museum, Los Angeles
Why Contemporary Artists don't Paint like Ingres, moderated by Lawrence Weschler, New York Institute for the Humanities, New York University, New York
2000The Comic Spirit is a Living Thing, moderated by John Hanhardt, Solomon R. Guggenheim Museum of Art, New York
1999Art, Technology, and Culture, UC Berkeley, Berkeley CA
1998Panel discussion 'Dialogues on Art: Sunshine and Noir,' UCLA Hammer Museum, Los Angeles
1997Untitled talk on the Münster Sculpture Project and Documenta 10, moderated by Carol McMichael Reesem, MAK Center for Art and Architecture, Los Angeles
1996Untitled talk at mediawork: the Southern California New Media Working Group, MAK Center for Art and Architecture, Los Angeles
1994Optimism, The Hirsch Farm Project, Hillsboro, WI
MONOGRAPHS AND SOLO EXHIBITION CATALOGUES
2010Diana Thater: Between Science and Magic. Text by Helen Varola. Interview with the artist by Pernilla Holmes. Santa Monica Museum of Art, CA (exh. cat.)
2009Diana Thater: gorillagorillagorilla. Texts by Bergit Arends, Adam Budak, Peter Pakesch, Larry Rickels, and Jason Smith. Cologne: Walther König, Cologne (exh. cat.)
Diana Thater: Tigers and Other People. Texts by Pernilla Holmes and Matthew Rowe. Towner Art Gallery, Eastbourne, England (exh. pub.)
2007OSRAM Art Projects. Text by Christian Schoen. OSRAM Art Projects, Munich, Germany (exh. cat.)
2005Diana Thater: Dreamland. Text by Diana Thater. David Zwirner and Zwirner & Wirth, New York (exh. cat.)
2004Diana Thater: Broken Circle. Text by Anne Hoormann. Museum für Gegenwartskunst Siegen, Siegen, Germany (exh. cat.)
Diana Thater: Keep the Faith. A Survey Exhibition. Texts by Barbara Engelbach, Wulf Herzogenrath, and Diana Thater. Kunsthalle Bremen and Museum für Gegenwartskunst Siegen, Germany (exh. cat.)
2003Diana Thater: Transcendence is expansion and contraction at the same time. Edited by Christiane Schneider and Diana Thater. Interview with the artist by Christiane Schneider. Haunch of Venison, London (exh. cat.)
2002knots + surfaces. Texts by Lynne Cooke, Michael Govan, Karen Kelly, and Akira Lippit. Dia Center for the Arts, New York (exh. cat.)
2000Delphine. Interview with the artist by Carol Reese. Vienna Secession, Austria (exh. cat.)
1999Diana Thater: The best outside is the inside. Saint Louis Art Museum, MO (exh. cat.)
1998The best animals are the flat animals - the best space is the deep space. Texts by Amelia Jones, Carol McMichael Reese, Diana Thater, and Daniela Zyman. MAK Center for Art + Architecture, Los Angeles (exh. cat.)
The best space is the deep space, Time-Based Media 1998-99: Diana Thater. Allen Memorial Art Museum, Oberlin, OH (exh. cat.)
Projects 64. Diana Thater: The best animals are the flat animals. The Museum of Modern Art, New York (exh. pub.)
1997Temporary Contemporary. Texts by Iwona Blazwick, Anna Pepperall, Paul Usherwood, and Mike White. Gateshead Metropolitan Borough Council Libraries and Arts Services, Gateshead, England (exh. cat.)
1996The individual as a species: the object as a medium, Diana Thater: Selected Works 1992-1996. Interview with the artist by Kathryn Kanjo. Kunsthalle Basel, Switzerland (exh. cat.)
1995China. Texts by Colin Gardner, Timothy Martin, and Diana Thater. The Renaissance Society at the University of Chicago, IL and Le Creux de L'Enfer Centre d'Art Contemporain à Thiers, France (exh. cat.)
1994Witte de With: Cahiers, No. 3. Edited by Barbara van Kooij. Texts by Timothy Martin and Diana Thater. Witte de With, Center for Contemporary Art, Rotterdam, The Netherlands
SELECTED BOOKS AND GROUP EXHIBITION CATALOGUES
2011Alice in Wonderland: Through the Visual Arts. Texts by Gillian Beer, Alberto Manguel, Carol Mavor, Christoph Benjamin Schulz, and Edward Wakeling. London: Tate (exh. cat.)
Barroco Nova: Neo Baroque Moves in Contemporary Art. Texts by Josée Drouin-Brisebois, Susan Edelstein, and Patrick Mahon. Museum London, Canada (exh. cat.)
2010Anonymous Sculpture: Video and Form in Contemporary Art. Edited by Beate Ermacora and Sylvia Martin. Verlag für moderne Kunst Nürnberg, Nuremberg, Germany (exh. cat.)
Contemporary Magic: A Tarot Deck Art Project. The National Arts Club, New York (exh. cat.)
2009Art of Projection. Edited by Christopher Eamon, Stan Douglas. Texts by Mieke Bal, Beatriz Colomina, Thomas McDonough, Gregor Stemmrich. Hatje Cantz, Ostfildern-Ruit, Germany
The Essential Guide. Edited by Robert V. Sharp, Elizabeth Stepina, Susan E. Wiedemayer. The Art Institute of Chicago, IL
Expressions: From Darwin to Contemporary Arts. Texts by Bergit Arends, Charles Darwin, Gautier Deblobde, Jeremy Deller, Matthew King. Natural History Museum, London (exh. cat.)
Film, Video, and New Media at the Art Institute of Chicago. Texts by Lisa B. Dorin and James Rondeau. New Haven: Yale University
In-Finitum. Texts by Giandomenico Romanelli, Francesco Poli, Nico Van Hout, Eddi De Wolf, Heinz-Norbert Jocks, Tatsuro Miki, Axel Vervoordt. Vervoordt Foundation, Ghent, Belgium (exh. cat.)
2008California Video: Artists and Histories. Edited by Glenn Phillips. Texts by Meg Cranston, Robert R. Riley, Kathy Rae Huffman, et al. Getty Publications, Los Angeles (exh. cat.)
…drawling, stretching and fainting in coils… Texts by Kent Nagano, Bernart Schwenk, Diana Thater. Pinakothek der Moderne and Nationaltheater FestSpiele + 2007, Munich, Germany (exh. cat.)
Human/Nature: Artists Respond to a Changing Planet. Texts by Hugh M. Davies, Stephanie Hanor, Lucía Sanromán, Lucinda Barnes, et al. Museum of Contemporary Art San Diego and University of California, Berkeley Art Museum and Pacific Film Archive, Berkeley, California (exh. cat.)
Southern Exposure: Works from the Collection of the Museum of Contemporary Art, San Diego. Text by Rachel Kent. Museum of Contemporary Art, Sydney, Australia (exh. cat.)
This is Not to be Looked At: Highlights from the Permanent Collection of The Museum of Contemporary Art, Los Angeles. Texts by Ann Goldstein, Rebecca Morse, Paul Schimmel. Museum of Contemporary Art, Los Angeles (exh. cat.)
2006Ballerina in a Whirlpool: Works by Isa Genzken, Richard Jackson, Roman Singer, and Diana Thater from the Hauser & Wirth Collection. Texts by Fritz Emslander, Michaela Unterdörfer, Karolin Kober, Sabine Sarwa, Barbara Wagner. Kunsthalle Baden-Baden, Germany (exh. cat.)
Beyond Cinema: The Art of Projection. Texts by Stan Douglas, Christopher Eamon, Anette Hüsch, Joachim Hunter, Gabriele Knapstein, Britt Schlehahn. Ostfildern: Hatje Cantz (exh. cat.)
Ecotopia: The Second ICPTriennial of Photography and Video. Texts by Brian Wallis, Edward Earle, Christopher Phillips, Carol Squiers. International Center of Photography, New York (exh. cat.)
IDYLLE: Traum und Trugschluss. Text by Oliver Zybok. Sammlung Falckenberg, Phoenix Kulturstiftung, Hamburg (exh. cat.)
Video Art. Texts by Sylvia Martin, Uta Grosenick. Cologne: Taschen.
Whitney Biennial 2006: Day for Night. Texts by Chrissie Iles, Philippe Vergne. Whitney Museum of American Art, New York (exh. cat.)
2005Artists' Books, Revisited. Texts by Ann Dean, Michael Krebber. Art Metropole, Toronto, Canada and Vienna Secession, Austria (exh. cat.)
Die Ordnung der Natur. Texts by Martin Sturm, Hans-Peter Wipplinger. Folio Verlag, Vienna (exh. cat.)
Guardami: Percezione del video. Edited by Gli Ori. Palazzo Delle Papesse Centro Art Contemporanea, Siena, Italy (exh. cat.)
Not Done! (Het Kunstenaarsboek). Texts by Stefan Hertmans, Dara Birnbaum, Peter Downsbrough, Lawrence Weiner, et al. Imschoot Uitgevers, Ghent, Belgium (exh. cat.)
pressPLAY: Contemporary Artists in Conversation. Texts by Juan Vicente Aliaga, Michael Archer, Carlos Basualdo, Daniel Birnbaum, et al. London: Phaidon
Recent Pasts: Art in Southern California from the 1990s to Now. Texts by Brian Butler, Connie Butler, Matthew Coolidge, Dennis Cooper, Mike Davis, Dave Muller, Diana Thater, Frances Stark. JRP|Ringier, Zurich, Switzerland
The Shape of Colour: Excursions in Colour Field Art, 1950-2005. Texts by Mark Cheetham, Robert Hobbs, Sarah K. Rich, Raphael Rubinstein. Art Gallery of Ontario, Toronto, Canada (exh. cat.)
Vertiges. Text by Pernilla Holmes. Printemps de Septembre à Toulouse, Toulouse, France (exh. cat.)
Weathervane. Texts by Karen Love, Elizabeth May. Ottawa Art Gallery and Oakville Galleries, Canada (exh. cat.)
2004100 Artists See God. Texts by John Baldessari, Meg Cranston, Thomas McEvilley. Independent Curators International, New York (exh. cat.)
Animals. Text by Christiane Schneider. Haunch of Venison, London (exh. cat.)
Dicen que finjo o miento. Central de Arte, Guadalajara World Trade Center, Guadalajara, Mexico
Ein-leuchten. Texts by Margrit Franziska Brehm, Daniela Zyman, Agnes Husslein, Francesca von Habsburg, Peter Weibel, et al. Museum der Moderne Salzburg and Thyssen-Bornemisza Art Contemporary, Vienna, Austria (exh. cat.)
Friedrich Christian Flick Collection im Hamburger Bahnhof. Texts by Eugen Blume, Joachim Jäger, Gabriele Knapstein. Junius, Hamburg, Germany (exh. cat.)
Künstler.Kritisches Lexikon der Gegenwartskunst. Text by Friederike Wappler. Weltkunst/Bruckmann, Munich, Germany
Le Creux de l'Enfer 1988-2002. Text by Laurence Gateau. Le Creux de l'Enfer Centre d'Art Contemporain à Thiers, France
Parkett: 20 Years of Artists' Collaborations. Text by Mirjam Varadinis. Parkett Publishers, Zurich, Switzerland
2003Fast Forward:Media Art Sammlung Goetz. Edited by Ingvild Goetz and Stephan Urbaschek. Texts by Sabine Himmelsbach, Mark Nash, Peter Weibel, Stephan Urbaschek, et al. Kunstverlag Ingvild Goetz, G.m.b.H., Hamburg, Germany (exh. cat.)
ICI in 2003. Edited by Stephen Robert Frankel. Independent Curators International, New York
An International Legacy: Selections from Carnegie Museum of Art. Edited by Sheryl Conkelton, Elizabeth Thomas. American Federation of Arts, New York (exh. cat.)
Moving Pictures: Contemporary Photography and Video from the Guggenheim Museum Collections. Texts by Lisa Dennison, Nancy Spector, Joan Young, John Hanhardt. Solomon R. Guggenheim Museum, New York (exh. cat.)
2002Art Now. Edited by Burkhard Riemschneider and Uta Grosenick. Cologne: Taschen
Making Nature. Text by Dieter Buchhart. Nikolaj, Copenhagen Contemporary Art Center, Denmark (exh. cat.)
Vidéo Topiques: Tours et Retours de l'Art Vidéo, 2002. Texts by Patrick Javault, Georges Heck, Maurizio Lazzarato, et al. Musées de Strasbourg, France (exh. cat.)
2001BitStreams. Texts by Lawrence Rinder, Debra Singer. Whitney Museum of American Art, New York (exh. cat.)
Devices of Wonder: From the World in a Box to Images on a Screen. Texts by Barbara Maria Stafford, Frances Terpak, Isotta Poggi. J. Paul Getty Museum, Los Angeles (exh. cat.)
Elusive Paradise: The Millennium Prize. Texts by Diana Nemiroff, Johanne Sloan. The National Gallery of Canada, Ottawa, Canada (exh. cat.)
Foci. Interviews with Ten International Curators. Text by Carolee Thea. ApexArt Curatorial Program, New York
Intermedia - Dialog der Medien. Texts by Barbara Engelbach, Gundolf Winter. Museum für Gegenwartskunst Siegen, Germany
L.A.-ex. Edited by Christa Häusler, Elisabeth Schweeger. Texts by Andrew Gellatly, Peter Kroher. Ostfildern: Hatje Cantz (exh. cat.)
Parkett: Collaborations and Editions Since 1984. Texts by Deborah Wye, Susan Tallman. Zurich: Parkett (exh. cat.)
Public Offerings. Edited by Howard Singerman. Museum of Contemporary Art, Los Angeles (exh. cat.)
Wechselstrom (Alternating Current) Part 2. Edited by Michaela Unterdorfer. Sammlung Hauser und Wirth, St. Gallen, Switzerland (exh. cat.)
2000 Bauen und Wohnen: Grafikeditione Deutsche Bank Bauspar AG 1993 bis 1999. Texts by Hellmut Seemann, Josefine Raab, Hans Wielens, Margareta Konze. Deutsche Bank Bauspar AG, Frankfurt, Germany
Enclosed & Enchanted. Texts by Kerry Brougher, Michael Tarantino. Modern Art Oxford, England (exh. cat.)
Herausforderung Tier. Texts by Regina Haslinger, Durs Grünbein, Elfriede Jelinek, Ilya Kabakov, et al. Städtische Galerie, Karlsruhe, Germany (exh. cat.)
Making Time: Considering Time as a Material in Contemporary Video and Film. Edited by Amy Cappellazzo, Adriano Pedrosa, Peter Wollen. Palm Beach Institute of Contemporary Art, Lake Worth, FL (exh. cat.)
Sites Around the City: Art and Environment. Texts by Heather Sealy Lineberry, Ronald Jones. Arizona State University Art Museum, Tempe, AZ (exh. cat.)
Thinking Space: Selections from the Ann & Marshall Webb Collection. Texts by Shirley Madill and Loretta Yarlow. Art Gallery of Hamilton, Canada (exh. cat.)
1999The American Century: Art and Culture 1950-2000. Text by Lisa Phillips. Whitney Museum of American Art, New York (exh. cat.)
Art at the Turn of the Millennium. Edited by Burkhard Riemschneider, Uta Grosenick. Cologne: Taschen
Carnegie International 1999/2000. Text by Madeleine Grynsztejn. Carnegie Museum of Art, Pittsburgh, PA (exh. cat.)
Carnegie International 1999/2000: Artists' Reader. Text by Madeleine Grynsztejn. Carnegie Museum of Art, Pittsburgh, PA
Consciousness Cinema: An Art of Its Time. Texts by Steve Anker, Irina Leimbacher, David Sherman. CCAC Institute, San Francisco, CA
Searchlight: Consciousness at the Millennium. Edited by Lawrence Rinder. New York: Thames & Hudson (exh. cat.)
Trouble Spot. Painting. Edited by Narcisse Tordoir, Luc Tuymans, Roland Van de Sompel.Museum van Hedendaagse Kunst Antwerpen, Belgium (exh. cat.)
1998 Cream(10 Curators, 10 Writers, 100 Artists: Contemporary Art in Culture). Texts by Francesco Bonami, Dan Cameron, Okwui Enwezor, Hou Hanru, Matthew Higgs, Susan Kandel, et al. London: Phaidon
Span: Jessica Bronson, Mariko Mori, Diana Thater. Text by Giovanni Intra. Govett-Brewster Art Gallery, New Plymouth, New Zealand (exh. cat.)
19971997 Whitney Biennial. Texts by David A. Ross, Douglas Blau, et al. Whitney Museum of American Art, New York (exh. cat.)
Art Recollection. Artists' Interviews and Statements in the Nineties. Texts by Diana Thater, Otto Neumaier. Printed Matter, Inc., Ravenna, Italy
Multiple Identity: Amerikanische Kunst 1975-1995 aus dem Whitney Museum of American Art. Texts by Johanna Drucker, Donald Kuspit, Volker Adolphs. Kunstmuseum Bonn, Germany (exh. cat.)
Skulptur. Projekte in Münster 1997. Edited by Klaus Bußmann, Kasper König, Florian Matzner. Münster: Gerd Hatje (exh. cat.)
Sunshine & Noir: Art in L.A. 1960-1997. Texts by Lars Nittve, William R. Hackman, Mike Davis, Peter Schjeldahl, Laura Cottingham, Terry R. Myers, et al. Louisiana Museum of Art, Humlebæk, Denmark (exh. cat.)
Trade Routes: History and Geography, 1997 Johannesburg Biennale. Texts by Okwui Enwezor, Francesco Bonami, et al. Greater Johannesburg Metropolitan Council, Johannesburg, South Africa and the Prince Claus Fund of Culture and Development, The Hague, The Netherlands (exh. cat.)
1996Art at the End of the 20th Century: Selections from the Whitney Museum of American Art. Text by Johanna Drucker. Whitney Museum of American Art, New York (exh. cat.)
Being and Time: The Emergence of Video Projection. Text by Marc Mayer. Albright-Knox Art Gallery, Buffalo, NY (exh. cat.)
Echoes: Contemporary Art at the Age of Endless Conclusions.Edited by Francesco Bonami. Texts by Francesco Bonami, Jeffrey Rian, Jen Budney, Keith Seward, Neville Wakefield, Mark Van de Walle. New York: Monacelli
Jurassic Technologies Revenant: 10th Biennale of Sydney. Texts by Lynne Cooke, Jonathan Crary, Elisabeth Sussman, et al. Art Gallery of New South Wales, Sydney, Australia (exh. cat.)
Painting: The Extended Field. Text by Sven-Olov Wallenstein. Rooseum Center for Contemporary Art, Malmö, Sweden (exh. cat.)
Someone else with my fingerprints. Texts by Hanjo Berressem and Wilhelm Schurmann. Cologne: Salon (exh. cat.)
True.BLISS. Texts by Julie Joyce, David A. Greene. Los Angeles Contemporary Exhibitions, Los Angeles (exh. cat.)
19951995 Whitney Biennial. Texts By Klaus Kertess, John Ashbery, Gerald M. Edelman, Lynne Tillman, et al. Whitney Museum of American Art, New York (exh. cat.)
Beyond the Borders: Gwangju Biennale. Texts by Song Eon-jong, Lim Young-bang, Kathy Halbreich, Clive Adams, et al. Gwangju Biennale Foundation, Gwangju, South Korea (exh. cat.)
Biennale d'Art Contemporain de Lyon. Texts by Thierry Prat, Thierry Raspail, Georges Rey. Musée d'Art Contemporain de Lyon, France (exh. cat.)
Limiares/Threshold: Recent American Sculpture. Texts by Dan Cameron, Fernando Pernes. Fundação de Serralves, Porto, Portugal (exh. cat.)
Surroundings. Text by Pia Witzmann. Museum Fridericianum, Kassel, Germany (exh. cat.)
1994Optimism. Hirsch Farm Project. Text by Mitchell Kane. Hirsch Foundation, Northbrook, Illinois
Temporary Translation(s): Sammlung Schürmann. Text by Zdenek Felix. Deichtorhallen
Hamburg, Haus der Photographie - Aktuelle Kunst, Hamburg (exh. cat.)
PUBLICATIONS BY THE ARTIST
2008…drawling, stretching and fainting in coils…. Edited by Diana Thater. Texts by Diana Thater, Kent Nagano, and Bernhart Schwenk. Bayerische Staatsoper and Pinakothek der Moderne, Munich, Germany
2000Edition of 150 DVDs Parkett no. 60. Zurich: Parkett
1999A Living Theatre. Edited by Diana Thater. Text by Diana Thater. Salzburger Kunstverein, Austria
1996 Electric Mind. Edited by Diana Thater. Texts by Diana Thater, Kathryn Kanjo, and Pat Murphy. Imschoot Uitgevers, Ghent, Belgrium
WRITINGS BY THE ARTIST
2012Thater, Diana. "It Speaks to Me: Diana Thater on Nam June Paik's 'Video Flag Z' at LACMA." LA Times blogs online 25 January 2012.
2011Thater, Diana. "Adam D. Miller." ArtReview March 2011: 88.
2008Thater, Diana. "Diana Thater in New York." Artinfo.com 18 January 2008.
Thater, Diana. "Anthropodenial." …drawling, stretching and fainting in coils… Pinakothek der Moderne and Nationaltheater 2008 (exh. cat.)
2005Thater, Diana. "A Man Becomes Unstuck in Time in the Film That Became a Classic!" Robert Smithson: Spiral Jetty. University of California Press and Dia Art Foundation 2005.
2002Thater, Diana. "Diana Thater: Hotlist." Artforum February 2002: 28.
1998Thater, Diana and Otto Neumaier. "Wer sind wir?" Noema Art Journal no. 49 October/November 1998: 46-51.
Thater, Diana. "Diana Thater in conversation with Stan Douglas." Stan Douglas. London: Phaidon, 1998. 6-29.
1997Thater, Diana and T. Kelly Mason. "The future that almost wasn't." Transcript 2 no. 3 1997: 38-43.
Thater, Diana and Otto Neumaier. "Who Are We?" Art Recollection: Artists' Interviews and Statements in the Nineties. Danilo Montanari, Exit and Zona Archives Editori 1997.
1996Thater, Diana and Hamza Walker. "Gay…Black...Female… Whatever." Persona. The Renaissance Society at the University of Chicago and Kunsthalle Basel 1996.
1994Thater, Diana and Garret Savage. "The Structure of Meaning." FOCUS 14 1994: 19-31.
2012Finkel, Jori. "MOCA Mobilization is back in action." The Los Angeles Times online 24July 2012.
Halperin, Julia. "Artist-Led Group MOCA Mobilization Is Back, And It Has a List of Demands." artinfo.com 24 July 2012.
Kennedy, Randy. "Artist Group Petitions Museum of Contemporary Art in Los Angeles." The New York Times online 25 July 2012.
McGarry, Kevin. "Out There|The Big Frieze." The New York Times T Magazine online 4 May 2012.
2011Hubbard, Sue. "Diana Thater: Chernobyl." 3quarksdaily.com 7 February 2011.
Marmion-Warr, Alana. "Diana Thater: Chernobyl." dazeddigital.com 26 January 2011.
"Exhibition of the week - Chernobyl." Esquire online (UK edition) 26 January 2011.
2010Ayers, Robert. "Diana Thater." ARTnews May 2010: 112.
Drohojowska-Philp, Hunter. "Ann Goldstein takes her MOCA learning to Amsterdam." The Los Angeles Times online 12 December 2010.
Gilbert-Rolfe, Jeremy. "La belleza: un conflicto en desuso." Exit Express no. 53 Summer 2010): 18-28.
Kawamoto, Wayne. "A Magic and Modern Mash-Up." magic.about.com 20 January 2010.
McGarry, Kevin. "Last Chance: The Magic of Diana Thater." Interview magazine online 12 March 2010.
McHugh, Julia. "SOUTH ON 101: Free and fun." Santa Maria Times online 5 February 2010.
Neil, Jonathan T. D. "Diana Thater: Between Science and Magic." ArtReview April 2010: 112.
Simonson, Lily. "This Magic Moment: Diana Thater, Jeffrey Wells at the Santa Monica Museumof Art." pbs.org/art21 4 March 2010.
Walker, Alissa. "New MOCA Director Deitch Will Close His Gallery But That Doesn't Quiet Angry Art Mobs." fastcompany.com 11 January 2010.
Willis, Holly. "Diana Thater: Between Science and Magic." Blur + Sharpen on kcet.org 28 February 2010.
2009Sansone, Valentina. "Diana Thater at Kunsthaus Graz." Flash Art no. 265 March-April 2009: 88.
Sholis, Brian. "Previews: Diana Thater: gorillagorillagorilla." Artforum January 2009: 136.
Ward, Ossian. "After Darwin." Time Out London 16 July 2009.
Ziegler, Ulf Erdmann. "Diana Thater überlässt das Kunsthaus Graz Gorillas und ihren üblichen Verrichtungen." Monopol April 2009.
"Diana Thater: gorillagorillagorilla." The Art Newspaper March 2009: 58.
Discourse: Journal for Theoretical Studies in Media and Culture Winter-Spring 2009: cover.
2008Ayers, Robert. "Weekend Picks: Diana Thater in New York." artinfo.com 18 January 2008.
Buckley, Annie. "Picks: Diana Thater at 1301PE." Artforum online 3 October 2008.
Duffy, Robert W. "Chess Club Makes Bold Move into West End Quarters." St. Louis Beacon 15 July 2008.
Govan, Michael. "The Esquire Museum of Contemporary Art." Esquire October 2008: 298-301.
Hudson, Suzanne. "Diana Thater at David Zwirner." Artforum March 2008: 359-360.
Kantor, Jordan. "Preview: California Video." Artforum January 2008: 135.
Kerr, Merrily. "Diana Thater: Here is a Text About the World." Time Out New York 31 January-6 February 2008: 63.
Masters, H.G. "Diana Thater: Here is a text about the world…" flavorpill.com 10 January 2008.
Myers, Holly. "Tapeheads: California Video." ArtReview March 2008: 38.
Spears, Dorothy. "The Ritual of Chess, a Decoder of Life." The New York Times 13 January 2008: AR29.
Wagley, Catherine. "Perfect Deceit: Diana Thater." artslant.com 13 October 2008.
"We Asked Diana Thater a Few Questions." Glare no. 3 Spring 2008: 26.
2007Barron Bailly, Austen. "Artist-Curators and Art Historian-Curators at the Edge: How the 'Modern West' Reveled Boundaries of the Curatorial Practice." Invisible Culture: An Electronic Journal for Visual Culture no. 11 2007.
Connah, Roger. "Am Punkt Null?" Stadt Bauwelt June 2007: 60-79.
"Flores/Flowers." EXIT no. 28 November 2007/January 2008: 148-149.
Haithman, Diane. "LACMA Invites Artists in for a Chat." Los Angeles Times 12 January 2007.
Karcher, Eva. "Ab mit euren Köpfen: Alice III: Diana Thater's Ausstellung für 'Festpiel.'" Suddeutsche Zeitung no. 148 30 June-1 July 2007: 14.
Sonna, Birgit. "All About Alice." TAKT June 2007: 38-41.
"Touch my Shadows." Warsaw Voice 24 January 2007.
2006Berwick, Carly. "Reviews: UP NOW." ARTnews May 2006: 156.
Fortnam, Joanna. "Art in the Garden: Wall Flowers." Garden Design June/July 2006.
Schjeldahl, Peter. "Critic's Notebook." The New Yorker 20 March 2006: 34.
Smith, Roberta. "Art Review - The Body, Electric: Text and, Yes, Videotape." The New York Times 4 August 2006.
2005Avgikos, Jan. "Diana Thater." Artforum April 2005: 186.
Bürklin, Heidi and Charles Rump. "Diana Thater in der Galerie Haunch of Venison." Die Welt 17 September 2005: 24.
"Natur zeigt sich als Kulturspiegel." Waldeckische Landeszeitung 20 March 2004.
Posca, Claudia. "Die mit den Pferden Filmt." Neue Ruhr Zeitung 10-11 June 2004.
Rosenau, Mirja. "Wildpferde, abgerichtet zu Wildpferden." Frankfurter Rundschau 3 April 2004.
Schossig, Rainer B. "Es ist hier heller als man denkt." Kurier 4 April 2004.
Schröder, Ralf. "Heute vorgestellt: 'Siegen makes me work.'" Hallo Siegen 18 March 2004.
Stoeber, Michael. "Michael Stoeber über Diana Thater." Artist Kunstmagazine no. 59 February 2004: 42-47
Stürzer, Anne. "Die mit Delfinen tanzt." Nordsee Zeitung 8-9 May 2004.
"Über die Wände" Siegener Zeitung 25 March 2004.
"Verstörend schöne Naturbilder." Schweriner Volkszeitung 26 March 2004.
"Videokunst von Diana Thater." Bremen Magazin no. 4 2004.
von Helmut, Blecher. "Videobetrachtungen im unendlichen Raum." Westfalenpost 19 March 2004.
"Wechselwirkung alter und neuer Medien." Die Sparkassenzeitung 19 March 2004.
"'Wilder' Wolf im Farbspektrum." Siegener Zeitung 19 March 2004.
2003Mauk, Laura. "Horse's Mouth: Readers' Tips for Spring 2003." Bookforum Spring 2003.
2002 Cheng, Scarlet. "California Grrrls: The Major Survey 'Parallels and Intersections: Art/Women/California' Sheds Light on an Oft-Neglected Group of Female Artists from 1950 to 2000." The Los Angeles Times 29 September 2002.
2001"Back to the Future with Bitstreams." Art in America September 2001: 61-63.
Barlow, Melinda. "Sculpture + Architecture in Dialogue: A Conversation with Diana Thater." Sculpture October 2001: 34-39.
"Bitstreams." Tema Celeste March/April 2001: 116.
Chen, Aric. "State of the Arts." Jalouse November 2001: 152-155.
Connaissance des Arts: Chelsea 2001.
"Dia Center for the Arts." Tema Celeste November/December 2001: 105.
"Dia Center for the Arts." The New Yorker 12 February 2001: 20-21.
Gellatly, Andrew. "Enclosed and Enchanted." Frieze no. 56January/February 2001: 114.
Gilbert, Andrea. "Splash: Big Names in Contemporary Art Dive to Their Limits." View August 2001: 88-93.
Harris, Jane. "Diana Thater." Art Press April 2001: 12-14
Kimmelman, Michael. "Diana Thater 'knots + surfaces.'" The New York Times 18 May 2001: E29.
Pollack, Barbara. "Diana Thater." ARTnews April 2001: 139.
Ross, Christine. "The Insufficiency of the Performative: Video Art at the Turn of the Millennium." Art Journal Spring 2001: 28-33.
Schwendener, Martha. "Winter Preview: Diana Thater Dia Center for the Arts." Artforum January 2001: 37.
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Last Chance: The Magic of Diana Thater
By Kevin McGarry 03/12/2010 11:20 AM
Diana Thater's latest film installation, Between Science and Magic, closing this Saturday, is a layered study of process in keeping with the artist's two-decade investigation into timeless dialectics: human and animal; culture and nature; and now science and magic. The looped 12-minute projection records a projection being done at a French Rococo film palace in Los Angeles. The frame captures the ornate proscenium and the screen it encloses, which features two figures on soundstages separated by a central, white-on-white seam.
The film starts just before curtain up. Once it's risen, the internal film begins: the left side of the screen shows an over-the-shoulder shot of a camera operator; the right, a head-on shot of a tuxedoed magician. While the camera operator records, the magician displays his tools (top hat, table, cloth) and recites the gestures that culminate in pulling a white rabbit out of his hat. He repeats the trick, and each time he begins anew, the orientation of the camera operator changes. Either side of the frame is a recording taken simultaneously from different angles. The right maintains its angle, fixed on the magician frontally, and the left orbits the scene, hitting 16 stations for the 16 repetitions of the performance. This choreography is not unlike the routes of planetary bodies. The motions are slow, certain, and difficult to grasp from a static vantage point.
In Thater's work, the concept for the piece arises from theory, here Claude Levi-Strauss's writing on science and magic as opposing forces whose combination can be called art. The film is academic to the extreme, light years away from enacting the kind of moving aesthetic experience it takes as a subject. However its purity of thought approaches zen, and by its austerity of purpose and concept, the piece transcends its visual nature to become textual. The magician of Between Science and Magic mingles technique and performance to produce art: an illusion of the impossible in the sudden appearance of the white rabbit. Thater doesn't seek to expose the artifice of the magician's work. At the moments that come closest to spilling the beans, she cuts to an image of the camera. It is, after all, the instrument whose science is really being probed as magical.
May 28, 2007
- What criteria were decisive for your selection of artists?
I chose artists with several criteria in mind. I wanted artists working in all types of media. I chose two painters (Dawson Weber and Jeremy Gilbert-Rolfe), two sculptors (Jill Spector and Katy Schimert) and two artists who work with sound, poetry and text (Leo Estevez and T. Kelly Mason.) Though I have specified them by media - these artists all mix media freely. Thus the sculptors use fabric and charcoal as well as plaster and paper. The painters worked with paper, gouache, wood, pastels and playing cards. The artists in the North Hall worked most openly in terms of materials - they have made carpet, light boxes and text projections. As well, Dawson Weber and T. Kelly Mason are trained musicians and specifically address music in their works. Jill Spector has a great interest in performance and has addressed that in her sculpture for the opera house. Katy Schimert makes meanings through narrative devices and that is present in her sculptural wall drawing for the Pinakothek.
It was necessary for this project that I know all of the artists very well and be able to speak with them daily. The project must be tightly designed for it to work. The theme of the exhibition is very limited so I had to ask the artists to make new works to address it. Therefore, I chose artists with whom I felt comfortable having a very open dialogue.
This kind of show cannot tolerate artists who cannot or will not work in a group. In this exhibition artists share spaces - Jill Spector and Dawson Weber share three rooms in the Opera House, T. Kelly Mason and Leo Estevez share the North Hall of the Opera House. As well, T. Kelly Mason and I made a collaborative work together.
Kent was very interested in making a connection between Southern California and Munich so I took that as an opportunity to work only with artists from my community. With one exception, Katy Schimert, all the artists live in Los Angeles. I have known Katy and her work very well for many years and she did live in California for a few years so I made an exception. I really needed Katy for the project and curated a show with her work in it once before and know how she works. So I was felt good about asking her and she loves the project. Her piece will be amazing.
Also - I wanted to work with artists of different ages. I don't think I need to elaborate on how tired we all are of the "young" artist frenzy we've been in for the last 10 years? Let's be excited about GOOD art instead of YOUNG art.
This leads me to my final and most important reason; I wanted to work with talented artists who you do not see in art fairs, hip galleries or biennials, documentas, giant 100+ artist exhibitions, etc. Why don't you see them? They are too busy in their studios - making art.
- You are the curator but also a represented artist in Festspiel+. Is this your first conceptual teamwork?
No, I have curated exhibitions and have worked collaboratively with other artists intermittently for the past 17 years. I have always thought that artists should participate in art on all levels and should contribute to every part of the dialogue. The most interesting artists [to me] are those who curate, write, lecture, teach etc. I see all of this as discourse about making meaning and all of the artists in this show and I are participating in that discourse together.
- What does "Alice in Wonderland" means for your work specially -in terms of relay?
Alice is a wonderful, timeless piece of literature. It is witty, charming, mean, rotten, disarming and is full of bad-mannered characters. SO I have always loved it and in fact made a piece in 1998 based on "The Caucus Race" - a chapter from the book. Itfascinates on any number of levels and it draws in people from many fields; mathematicians, logicians, artists, musicians, witty people, charming people, bad-mannered people and even children (if we could consider being witty, bad-mannered or a child as a sort of vocation...) Only a text as rich as Alice could have such a wide yet still specific appeal to each of these people.
T. Kelly Mason and I made a work titled relay that is not based on Alice in Wonderland. It is a piece on which we have been working for several years. We finally finished the work in March and realized, through working on the exhibition, that it was deeply connected to some of the same ideas that influenced Lewis Carroll.We related much more to Through the Looking Glass since we both think it is the better book of the two and is of course about the mirrorimage which is what relay is about.
In this work, the Buzzcock's 1979 song, "Why Can't I Touch It" is played four times by a rock band. The cameras record the band reflected in the mirrors. They record the real and the reflected. They see one another and their own reflections. The reflections and the real are sometimes swapped and we cannot tell which is which.The song is also played backward and forward as a mirror reflection of itself. Thus the image and the text are mirroring. When watching the projected video of the performance, the audience sits inside the same mirrored room, which is now a theatre. They then become part of the reflected work, their images breaking into the images of the performance. How does one go through the looking glass and into the work of art?
- Light, colour and architecture are in a fluctuate dialogue in the exhibition for the opera. Can you imagine this interference in an example?
These things you mention are the focuses of my own work. Kent wanted me to imagine the exhibition as a whole and so I asked the artists to work with certain ideas about the body, color, light and movement through architecture. These are in concert with my own ideas and so become part of my concept as a curator. My idea was to work with the various venues for the Festpiele as a moving whole. However, venues were taken away from us during the process so that all of the works have ended up only in the opera house and in the Pinakothek. The exhibition was initially more spread throughout the city. So the effects I had hoped to create have been pared down to trying to connect these two large institutions. I think the exhibition still works though as we try to connect visual art to the performative arts.
- I have the impression that some of the artists, you have chosen, are more involved in
poetry than in visual effects.
Because Alice is about truly about language I was committed from the beginning to work with writers. Leo Estevez is a terrific poet as well as an artist and combines these two elements in his work. What has resulted is a marvelous piece for the opera house's North Hall; a 40-foot long carpet with a spiraling text cut into it. Here he references the winding shaped texts of Carroll's poems and songs. However, instead of quoting Carroll, he wrote the poem himself. T. Kelly Mason's work also uses text in projected images of words onto the architecture. He also wrote all the texts for the t-shirts in relay - making a broken poem that can be read in the final sequence of the video.
In addition, for the work relay, the band, camera operators and assistants wear t-shirts in different colours with self-reflexive texts about the work on them (as in the our collaborative work JUMP from 2004). Here we decided to directly reflect Alice with just a few bits of text from the two books. The assistants wear t-shirts that have text on them such as "Mad Tea Party" "Much of a Muchness" and "I'll be one and you be all the rest". The rest of the texts were written by T. Kelly Mason and interweave with the Alice texts. These textual works of visual art play with language and reference Carroll without always quoting him, thus the works expand beyond the limits of Alice as a subject.
- You want to represent a film of a rockband in your work? What kind of band is it? Are they based in Los Angeles?
We worked with professional musicians who are not a band but play a band in the video. They are all rock musicians. Here we purposefully eschew and criticize the artworld tendency to put badly made music by "art" bands in art galleries and museums and then get away with it by calling it art. Most of this "music as art" wouldnâ€™t get a moment's notice from real music-lovers, but the art audience will accept bad music as art. Who knows why they would lower their standards for one media enough to accept it as another?
- Could you describe me a little bit the interchange between art and music in this project?
Well, as I've said there are trained musicians, Dawson Weber who has a degree in music composition and is now an artist and T. Kelly Mason who studied music as an undergraduate and produces sound works as part of his practice as an artist, in the show. Dawson in particular directly addresses the operas in the festpiele in his 54 drawings for the opera house - quoting text from the operas and interweaving it with the text from Alice.
However, there is a classic disconnect that is being played out in this exhibition that I could not stop and that is that the opera sees art in service to the music. I was initially asked to imagine an interchange of art and music and so tried to mix it up. They however did not respond to my ideas of their music coming toward our art - we had to bring art to them and that is not an interchange. We end up talking about music and performance - reaching out to the opera while the opera remains stationary and unmoving. That is the classic problem of one medium misunderstanding another. You can see in the exhibition that the art addresses the music but receives no response.
For us this has resulted in publishing our own posters and invitation cards to talk about our work as an exhibition worthy of attention for itself instead of as an appendage to the opera house.
- Is the connection between the works for the opera and for Pinakothek der Moderne very strong?
I hope so, and have designed the show in this way. Color will be carried through both venues so that a viewer visiting both will see the connection. Each venue has three installations. All the works address issues of performance and narrative. All the works address Alice either directly, such as in Katy Schimert's wall drawings and sculptures for the Pinakothek that use bits of the Alice text as their subject, or indirectly, in a work such as relay. All the works could be together in one venue and would stand as one continuous exhibition with the artworks acting in concert with one another. I think this connection across the city will be seen.
Kunsthaus Graz, Graz, Austria
For her gorillagorillagorilla (2009) installation, Diana Thater has emptied the upper floor of the Graz Kunsthaus, save for several video walls, DVD players and projectors. But what truly lays the space bare is an eerie, visceral silence. Thater completely omits sound from these films, though one may not even notice it at first, since she juxtaposes wall-sized projections of gorillas with jungle brush and chicken wire to a visually rhythmic effect. Images unfold from the walls to the floors and ceilings and into each another, forming abstract, disembodied patterns that suspend visitors in a liquid, green jungle.
Commissioned by the Kunsthaus Graz and the Natural History Museum, London, Thater spent a week last October filming in Cameroon's Mefou National Park lowland gorilla reserve, where the endangered species is protected from bushmeat hunters. It's a new animal for Thater, who has previously worked with tamed zebras and wolves and wild dolphins in questioning the cultural construction of nature - both animal and human. Using film, video and still cameras, she spied on the gangly apes, tussling and swinging on double-bars, and, much of the time, sitting still. Except for one filmed double-exposure, there are no special effects but simple angle shots, zooming and panning to include close-ups of their hands, flattened nostrils and the fence. Melded together, the non-narrative images feel incidental and National Geographic-like.
The spatial aspects of Thater's installation are less effective here than in her earlier work. At the Vienna Secession, for example, she twisted the spaces by projecting dolphins, liberated from the video frame, on a tilted ellipse (Delphine, 1999), dissolving corners by lighting entire rooms with saturated colours. At the Dia Center in New York, she projected images of bees based on the quantum mathematics of their flight patterns, creating a complex choreography for viewers, where images were only fully visible from specific points in the room (Knots + Surfaces, 2001).
But unlike both the Secession and Dia Center, the exhibition space of the Kunsthaus Graz challenges the conventions of minimal, white-cube architecture; corners and clear ceiling-to-floor delineations have been substituted for curved walls. Despite the similarity between Thater's ideas and those of the Kunsthaus architect Peter Cook, the filmic volumes Thater usually creates feel punctured.
Thater works by challenging common spatial perception in a disconcerting way. But since this amorphous space already calls attention to itself, it seems the architects have already done part of Thater's job for her. The space remains neutral rather than providing a productive friction for the work. Thater does not achieve a baroque complexity with her projections; viewers congregate in the centre of the gallery instead of roving about the room to view the successive films. The spaces that she usually merges - the flat, video space, the space inside our heads, and the real space enclosed by architecture - remain separate. As immersive as her oversized projections are, space as a medium is never actualized.
But while the installation doesn't fulfill the physical potential of the space, Thater still manages to pull us in psychologically. Through her avoidance of sound and playing on our resemblance to the gorilla, she taps into our consciousness and merges it with those of the gorillas. Her use of familiar-looking images, played without audio, are initially a source of irritation but then rouse viewers to actively participate in filling in the gap with their own narratives. Meanwhile, imagination and memory are conjured through Thater's use of the home-video evoking qualities of grainy Super 8 film.
One video wall plays footage of a sit-down interview with a Bristol Zoo Gardens zoologist, conducted by Thater. He speaks blankly into the camera - a staple scene on the Nature Channel - but because Thater forgoes audio, she flattens the difference between the scientist and the object of study. Our attention turns to the ape who sits neatly beside the expert, gamely imitating his gestures, and who has now entered into his own subjectivity.
On one video wall, a gorilla perches in a tree, knees drawn up. He stares into Thater's camera, abruptly looks away, then back again. In between, he diverts himself with picking his toes. We could say he's furtively curious, that he is similar to Thater herself, another voyeur perched on a nearby platform (as seen in another video). But the multiplicity of images Thater projects renders it difficult to interpret the gorillas' behaviour - an impenetrability of the animal environment which Giorgio Agamben terms as being open, yet not revealed, or openable, and which puts into question any excessively anthropocentric interpretations of the apes. If anything, after studying the gorilla's gaze, we begin to sense Thater's presence on the other side of the lens, the gorilla as an eerie self-portrait of herself.
In the final space of the exhibit - a narrow, glassed-in room above the exhibition space, offering panoramic views of the city - Thater has detached the green of the jungle and applied it to the outside world by covering the windows with Lee filters of the same hue. It's a quiet ending to an immense show, an attempt to prolong the perspective through which we viewed the jungle, as well as a transformative experience where viewers, in transit between two worlds, find themselves belonging to neither.
Artspace, Newton Auckland, New Zealand traveling to Govett-Brewster Art Gallery, New Plymouth, New Zealand; Centre for Contemporary Photography, Melbourne, Australia; Dunedin Public Art Gallery, Dunedin, New Zealand
Group show, Louisiana Museum of Art, Humlebaek, Denamrk, traveling to castello di Rivoli - Museo d'Arte Contemporaneo, Turin, Italy; Hammer Museum, Los Angeles, CA; Kunstmuseum Wolfsburg, Wolfsburg, Germany