Uta Barth

 

Born in Berlin

Lives in Los Angeles

 

 

SELECTED SOLO EXHIBITIONS

 

2013   SCAD Museum of Art, Savannah, GA

Andréhn-Schiptienko, Stockholm, Sweden

Public Art Project, UCSF Medical Campus, San Francisco, CA

 

2012   Galería Elvira González, Madrid, Spain

 

2011    ...and to draw a bright white line with light.,1301PE, Los Angeles, CA

Uta Barth, The Art Institute of Chicago, Chicago, IL

Uta Barth, Henry Art Gallery, Seattle, WA

...and to draw a bright white line with light., Tanya Bonakdar Gallery, New York, NY

 

2010   … to walk without destination and to see only to see., Tanya Bonakdar Gallery, New York, NY

… to walk without destination and to see only to see., 1301PE, Los Angeles, CA

… to walk without destination and to see only to see., Andréhn-Schiptjenko, Stockholm, Sweden

 

2008   Sundial, Alison Jacques Gallery, London, UK

Sundial, Sies + Höke, Düsseldorf, Germany

Sundial, Andréhn-Schiptjenko, Stockholm, Sweden

 

2007   Sundial, Tanya Bonakdar Gallery, New York, NY

 

2006   Uta Barth, Alison Jacques Gallery, London, UK

Uta Barth: 2006, Franklin Art Works, Minneapolis, MN

Uta Barth, Seomi & Tuus Gallery, Seoul, South Korea

Naturaleza, PHotoEspaña 2006, Madrid, Spain

 

2005   Tanya Bonakdar Gallery, New York, NY

Sies + Höke, Düsseldorf, Germany

Andréhn-Schiptjenko, Stockholm, Sweden

ACME, Los Angeles, CA

Rena Bransten Gallery, San Francisco, CA

Uta Barth: nowhere near, and of time, white blind (bright red) (1999–2002), SITE Santa Fe,

Santa Fe, NM

 

2004   white blind (bright red), ACME, Los Angeles, CA

Uta Barth, Lannan Foundation, Santa Fe, NM

 

2003   white blind (bright red), Andréhn-Schiptjenko, Stockholm, Sweden

white blind (bright red), Sies + Höke, Düsseldorf, Germany

 

2002   white blind (bright red), Tanya Bonakdar Gallery, New York, NY

Uta Barth: New Photographs, ACME, Los Angeles, CA

 

2001   Uta Barth 1991­–94, Lawing Gallery, Houston, TX

 

2000   Uta Barth: In Between Places, Henry Art Gallery, University of Washington, Seattle, WA; traveled to Contemporary Arts Museum, Houston, TX

nowhere near, Lannan Foundation, Santa Fe, NM

nowhere near, Gallery of Art, Johnson County Community College, Overland Park, KS

 

1999   nowhere near (part one), ACME, Los Angeles, CA

nowhere near (part two), Bonakdar Jancou Gallery, New York, NY

nowhere near (part three), Andréhn-Schiptjenko, Stockholm, Sweden

Uta Barth, Rena Bransten Gallery, San Francisco, CA

Uta Barth, Galeria Camargo Vilaça, São Paulo, Brazil

 

1998   Uta Barth, Bonakdar Jancou Gallery, New York, NY

Uta Barth, London Projects, London, UK

Uta Barth, ACME., Los Angeles, CA

Uta Barth, Lawing Gallery, Houston, TX

Uta Barth and Imi Knoebel, Studio La Città, Verona, Italy

 

1997   The Wall Project, Museum of Contemporary Art, Chicago, IL

...in passing, ACME., Santa Monica, California, CA

Uta Barth, Andréhn-Schiptjenko, Stockholm, Sweden

Uta Barth, Rena Bransten Gallery, San Francisco, CA

Uta Barth, Presentation House Gallery, North Vancouver, Canada

 

1996   Uta Barth, Tanya Bonakdar Gallery, New York, NY

Uta Barth, London Projects, London, UK

Uta Barth and Michael Snow, S. L. Simpson Gallery, Toronto, Canada

Uta Barth, Rena Bransten Gallery, San Francisco, CA

 

1995   Uta Barth, The Museum of Contemporary Art, Los Angeles, CA

Uta Barth, Tanya Bonakdar Gallery, New York, NY

Uta Barth, ACME., Santa Monica, California, CA

 

1994   Uta Barth and Vikky Alexander, domestic setting, Los Angeles, CA

Uta Barth, Wooster Gardens, New York, NY

 

1993   Index in French, California Museum of Photography, University of California, Riverside, CA

Uta Barth, School of Photographic Arts and Sciences Gallery, Rochester Institute of Technology, Rochester, NY

 

1990   Uta Barth, Howard Yezersky Gallery, Boston, MA

Critical Distance, Addison Gallery of American Art, Andover, MA

The Conceptual Impulse, Security Pacific Gallery, Costa Mesa, CA

 

1989   Deliberate Investigations: Recent Works by Four Los Angeles Artists, Los Angeles County Museum of Art, Los Angeles, CA

Uta Barth, Rio Hondo College Art Gallery, Whittier, CA

 

1985   Emerging Artists, Frederick S. Wight Gallery, University of California, Los Angeles, CA

Galleria by the Water, Los Angeles, CA

Uta Barth and Monique Safford, Galleria by the Water, Los Angeles, CA

 

 

SELECTED GROUP EXHIBITIONS

 

2014   A World of Its Own: Photographic Practices in the Studio, Museum of Modern At, New York, NY


2013   Lost Line, Los Angeles County Museum of Art, Los Angeles, CA

Art Basel, Andréhn-Schiptjenko, Basel, Switzerland

 

2012   In the Holocene, MIT List Visual Arts Center, Cambridge, MA

OppenheimerCollection@20, the Nerman Museum of Contemporary Art, Kansas City, KS

Staring at the Wall: The Arts of Boredom, Lawndale Art Center, Houston, TX

Greetings from Los Angeles, Starkwhite, Auckland, New Zealand

Transparent, Lannan Foundation Gallery, Santa Fe, NM

America in View: Landscape Photography 1865 to Now, Museum of Art, Rhode Island School  of Design, Providence, RI

ROLU: Open Field Artist Residency, Walker Art Center, Minneapolis, MN

Telegrams on the Table: An Interrupted Allegory & Picturesque Adventure, World Financial Center Winter Garden, 200 Vesey St. New York, NY

 

2011   Magical Consciousness curated by Runa Islam, Arnolfini, Bristol, UK

Inner Light: The Meaning of Light Between Contemporary Painting and Photography, curated by Ludovico Pratesi, Erica Fiorentini Gallery, Rome

 

2010   Inside Out: Photography After Form: Selections from the Ella Fontanals-Cisneros Collection, Cisneros Fontanals Art Foundation (CIFO) Miami, FL

Place as Idea, Worcester Art Museum, Worcester, MA

The Artist Museum, MOCA, Los Angeles and Geffen Contemporary, Los Angeles, CA

Modern Women: Women Artists at The Museum of Modern Art, Museum of Modern Art, New York, NY

Contemporary Impressionism: light, color, form and time, LA Art House, Los Angeles, CA

Starburst, Color Photography in America 1970 -1980, Princeton University Art Museum, Princeton, NJ

Del paisaje recente, Museo Colecciones Ico, Madrid, Spain

Incognito, Yancey Richardson Gallery, New York, NY

Thrice upon a time, Magasin 3 Stockholm Konsthall, Stockholm, Sweden

The Traveling Show, Fundacion/Coleccion Jumex, Mexico

InVisible: Art at the Edge of Perception, Massachusetts Museum of Contemporary Art, North Adams, MA

State of Mind: A California Invitational, Museum of Photographic Arts, San Diego, CA

Meet Me Inside, Gagosian Gallery, Los Angeles, CA

Library of Babel/In and Out of Place, Zabludowicz Collection, London, UK

 

2009   Museum of Modern Art, New York, NY

Chelsea Visits Havana, Museo Nacional de Bellas Artes, Havana, Cuba

Elements of Photography, Museum of Contemporary Art, Chicago, IL

Flower Power, Herter Gallery, University of Massachusetts, Amherst, MA

The Reach of Realism, Museum of Contemporary Art, North Miami, MA

Winter Light, 1301PE, Los Angeles, CA

History of Photography in the Microsoft Art Collection, Microsoft Art Collection, Redmond, WA

 

2008   BESart—The Present: An Infinite Dimension, Museu Colecção Berardo, Lisbon, Portugal

Held Together with Water (Spaces / Places), Istanbul Museum of Modern Art, Turkey

Inside/Outside: Interior and Exterior in Contemporary German Photography, Museum Küppersmühle für Moderne Kunst, Innenhafen Duisburg, Germany

Las Vegas Collects Contemporary, Las Vegas Art Museum, NV

Memory Is Your Image of Perfection, Museum of Contemporary Art, San Diego, CA

SAM at 75: Building a Collection for Seattle, Seattle Art Museum, Seattle, WA

Southern Exposure: Works from the Collection of the San Diego MCA, Museum of Contemporary Art, Sydney, Australia

This Side of Paradise: Body and Landscape in L.A. Photographs, The Huntington Library, San Marino, California; traveled as Le paradis, ou presque: Los Angeles (1865–2008) to Musée de l'Elysée, Lausanne, Switzerland, and Musée Nicéphore Niépce, Chalon-sur-Saône, France

Affinities, Alignments, Collisions, 601Artspace, New York, NY

Gallery Koyanagi, Tokyo, Japan

Photographic Works (To Benefit the Foundation for Contemporary Arts), Cohan and Leslie, New York, NY

Seeing the Light, Tanya Bonakdar Gallery, New York, NY

 

2007   Depth of Field: Modern Photography at the Metropolitan, The Metropolitan Museum of Art, New York, NY

Nerman Museum of Contemporary Art, Overland Park, KS

Seeing Things, Dorsky Gallery, University of Massachusetts, Amherst, MA

Viewfinder, Henry Art Gallery, Seattle, WA

Final Exhibition at 4 Clifford Street, Alison Jacques Gallery, London, UK

Is this all there is to fire? A show about boredom, High Energy Constructs, Los Angeles, CA

Mar Vista, domestic setting, Los Angeles, CA

Multiple Vantage Points: Southern California Women Artists, 1980–2006, Los Angeles Municipal Art Gallery, Los Angeles, CA

 

2006   City Limits: Shanghai–Los Angeles, University Art Museum, California State University, Long Beach, CA

New Acquisitions, Moderna Museet, Stockholm, Sweden

Tracking and Tracing: Contemporary Art Acquisitions 2000–2005, San Diego Museum of Art, CA

Shifting Terrain, Herter Gallery, University of Massachusetts, Amherst, MA

Whisper Not! Huis Marseille / H+F Collection, Amsterdam, The Netherlands

Inner go go, vamiali's, Athens, Greece

Los Ángeles, México: Complejidades y heterogeneidad, Colección Jumex, Mexico City, Mexico

Paisajes fotográficos, entre la topografía y la abstracción, PHotoEspaña 2006, Madrid, Spain

 

2005   Back from Nature, Institute of Contemporary Art, Maine College of Art, Portland, ME

Frontiers: Collecting the Art of our Time, Worcester Art Museum, Worcester, MA

New View, Gallery of Art, Carlsen Center, Johnson County Community College, Overland Park, KS

Out There: Landscape in the New Millennium, Museum of Contemporary Art, Cleveland, OH

Southern Exposure, Museum of Contemporary Art, San Diego, CA

Das verlorene Paradies: Die Landschaft in der zeitgenössischen Photographie, Stiftung Opelvillen, Rüsselsheim, Germany

Controlled, Tanya Bonakdar Gallery, New York, NY

Double Exposure, Galerie Graff, Montreal, Canada. Traveled to Inman Gallery, Houston, and Godt-Cleary Projects, Las Vegas, NV

Barbara Krakow Gallery, Boston, MA

Beyond Delirious: Architecture in Selected Photographs from the Ella Fontanals Cisneros Collection, Cisneros Fontanals Art Foundation, Miami, FL

 

2004   Atmosphere, Museum of Contemporary Art, Chicago, IL

From House to Home: Picturing Domesticity, The Museum of Contemporary Art, Los Angeles, CA

In Focus: Themes in Photography, Albright-Knox Art Gallery, Buffalo, NY

The World Becomes a Private World, Mills College Art Museum, Oakland, CA

Pairings, Dallas Center for Contemporary Art, Dallas, TX

Photography and Place: Contemporary Work from the Museum's Collection, Museum of Art, Rhode Island School of Design, Providence, RI

Double Exposure, Shearburn Gallery, St. Louis. Traveled to Pulliam Deffenbaugh Gallery, Portland, Oregon; Traywick Contemporary, Berkeley, California; Galeria 2000 GbR, Nuremberg, Germany; and Brigitte March, Stuttgart, Germany

Barbara Krakow Gallery, Boston, MA

Dranoff Fine Art, New York, NY

Winter Time, ACME., Los Angeles, CA

Godt-Cleary Gallery, Las Vegas, NV

Neue Editionen, Edition Schellmann, Munich, Germany

Adam Baumgold Gallery, New York, NY

Landscape, Rena Bransten Gallery, San Francisco, CA

 

2003   Moving Pictures: Contemporary Photography and Video from the Guggenheim Museum Collections, Solomon R. Guggenheim Museum, New York. Traveled to Guggenheim Museum, Bilbao, Spain

Public Record, The Museum of Contemporary Art, Los Angeles, CA

Imagine: Selections from the Permanent Collection, Museum of Contemporary Art, North Miami, FL

New Selections from the Permanent Collection, Orange County Museum of Art, Newport Beach, CA

Imperfect Innocence: The Debra and Dennis Scholl Collection, Contemporary Museum, Baltimore, and Palm Beach Institute of Contemporary Art, Lake Worth, FL

ACME. @ Inman, Inman Gallery, Houston, TX

Edition Speciale, Galerie Suzanne Tarasieve, Paris, France

Double Exposure, Barbara Krakow Gallery, Boston, MA

Beside, ACME., Los Angeles, CA

 

2002   History/Memory/Society: Displays from the Permanent Collection, Tate Modern, London, UK

Visions of America: Photography from the Whitney Museum Collection, Whitney Museum of American Art, New York, NY

We Love Painting: Contemporary Art from the Misumi Collection, Museum of Contemporary Art, Tokyo, Japan

Looking at America, Yale University Art Gallery, New Haven, CT

Global Address, Fisher Gallery, University of Southern California, Los Angeles, CA

Majestic Sprawl: Some Los Angeles Photography," Pasadena Museum of California Art, Pasadena, CA

<Stepping Back, Moving Forward> Human Interaction in an Interactive Age, Pittsburgh Center for the Arts, PA

Double Exposure, Edition Schellmann, Munich, Germany. Traveled to Edition Schellmann, New York, NY

Strolling Through an Ancient Shrine and Garden, ACME., Los Angeles, CA

 

2001   From the Permanent Collection, Orange County Museum of Art, Newport Beach, CA

00/01, James Harris Gallery, Seattle, WA

The Dreams That Stuff Is Made Of: Selections Show (curated by David Pagel), Frankfurt Art Fair, Frankfurt, Germany

 

2000   Open Ends: White Spectrum, The Museum of Modern Art, New York, NY

Departures: 11 Artists at the Getty, J. Paul Getty Museum, Los Angeles, CA

Tate Modern: Ten Artists, Ten Images, Tate Modern, London, UK

Insites: Interior Spaces in Contemporary Art, Whitney Museum of American Art at Champion, CT

A Lasting Legacy, Orange County Museum of Art, Newport Beach, CA

Photography Now: An International Survey of Contemporary Photography, Contemporary Arts Center, New Orleans, LA

Beyond Boundaries: Contemporary Photography in California, The Friends of Photography/Ansel Adams Center for Photography, San Francisco; traveled to University Art Museum, California State University, Long Beach, and Santa Barbara Contemporary Arts Forum, Santa Barbara, CA

Imperfectum (organized by Riksutstillinger: National Touring Exhibitions), Museet for Samtidskunst, Oslo, Norway. Traveled in Norway to Rogaland Kunstmuseum, Stavanger; Trondheim Kunstmuseum, Trondheim; Fylkesgalerie, Namsos; Bomullsfabrikken, Arendal; Billedgalerie, Haugesund; Bodo  Kunstforening, Bodo; and Aalesunds Kunstforening, Aalesund

Muscle: Power of the View, Boulder Museum of Contemporary Art, Boulder, CO

Photography about Photography, Andrew Kreps, New York, NY

Manifesto!, Blue Gallery, London, UK

ACME., Los Angeles, CA

Bonakdar Jancou Gallery, New York, NY

Frame: Uta Barth, Duncan Higgins, Carter Potter, Site Gallery, Sheffield, UK

 

1999   Apposite Opposites, Museum of Contemporary Art, Chicago, IL

Domesticated, Worcester Art Museum, Worcester, MA

Heads Up: Highlights from the Permanent Collection, Museum of Contemporary Art, North Miami, FL

Photography: An Expanded View, Recent Acquisitions, Solomon R. Guggenheim Museum, New York, NY. Traveled to Guggenheim Bilbao, Spain

Umeå kommuns konstinköp under 90—talet i urval, BildMuseet Umeå, Umeå, Sweden

double vision, Nexus Contemporary Art Center, Atlanta, GA

The Stroke: An Overview of Contemporary Painting (curated by Nine Painters), Exit Art, New York

Shift, ACME., Los Angeles, CA

Rattling the Frame: The Photographic Space 1977–1999, San Francisco Camerawork, San Francisco, CA

Under/Exposed, Public Art Project, Stockholm, Sweden

The 15th National Biennial Exhibition of the Los Angeles Printmaking Society, Laband Art Gallery, Loyola Marymount University, Los Angeles, CA

Kerlin Gallery, Dublin, Ireland

Threshold: Invoking the Domestic in Contemporary Art, John Michael Kohler Arts Center, Sheboygan, WI. Traveled to Contemporary Art Center of Virginia, Virginia Beach, VA

 

1998   Abstract Painting, Once Removed, Contemporary Arts Museum, Houston; traveled to Kemper Museum of Contemporary Art, Kansas City, MO; Museum of Contemporary Art, Chicago, IL; and Albright-Knox Art Gallery, Buffalo, New York, NY

Directions: Photography from the Permanent Collection, Whitney Museum of American Art, New York, NY

Mysterious Voyages: Exploring the Subject of Photography, Contemporary Museum, Baltimore, MD

New to Houston, Museum of Fine Arts, Houston, TX

Photography's Multiple Roles: Art, Documents, Market, Science, Museum of Contemporary Photography, Chicago, IL

Selections from the Permanent Collection, Museum of Contemporary Art, North Miami, FL

Claustrophobia, Ikon Gallery, Birmingham, UK. Traveled to Middlesbrough Art Gallery, Middlesbrough, UK; Harris Museum, Preston, UK; Mapping Art Gallery, Sheffield, UK; Cartwright Hall, Bradford, UK; Esbjerg Kunstmuseum, Denmark; and Centre for Visual Arts, Cardiff, Wales, UK 

From the Heart: The Power of Photography (Sondra Gilman Collection), Art Museum of South Texas, Corpus Christi, TX

Multiplicity, Vanderbilt University Fine Arts Gallery, Nashville, TN

Photography at Princeton, Princeton University Art Museum, Princeton, NJ

Uta Barth, Nancy Chunn, Anthony Caro, Institute of Contemporary Art, Maine College of Art, Portland, ME

(Not Pictured) The Presence of Absence, The Light Factory, Charlotte, NC

New Editions, Brooke Alexander/Brooke Alexander Editions, New York, NY

Picture Show, Weinstein Gallery, Minneapolis, MN

Precursor, Tanya Bonakdar Gallery, New York, NY

LA Cool, Rocket Gallery, London, UK

LA Cool, Brüning + Zischke, Düsseldorf, Germany

Women Who Shoot, Newspace, Los Angeles, CA

Spread, Rena Bransten Gallery, San Francisco, CA

Preview, London Projects, London, UK

Multiples, Elizabeth Leach Gallery, Portland, OR

Situacionismo, Galeria OMR, Mexico City, Mexico

 

1997   Blueprint, De Appel Foundation, Amsterdam, The Netherlands

Defining Eye: Women Photographers of the Twentieth Century, St. Louis Art Museum, MO. Traveled to Mead Art Museum, Amherst College, Amherst, MA; Wichita Art Museum, KS; UCLA Hammer Museum, Los Angeles, CA; and The National Museum of Women in the Arts, Washington, D.C.

Developing a Collection: The Ralph M. Parsons Foundation and the Art of Photography, Los Angeles County Museum of Art, Los Angeles, CA

Elusive Paradise: Los Angeles Art from the Permanent Collection, The Museum of Contemporary Art, Los Angeles, CA

Evidence: Photography and Site, Wexner Center for the Arts, Columbus, Ohio; traveled to Cranbrook Art Museum, Bloomfield Hills, MI; The Power Plant, Toronto, Canada; and Miami Art Museum, Miami, FL

Heart, Mind, Body, Soul: American Art in the 1990s, Whitney Museum of American Art, New York, NY

New Acquisitions: Works on Paper, Museum of Contemporary Art, Chicago, IL

Object and Abstraction: Contemporary Photography, The Museum of Modern Art, New York, NY Painting into Photography/Photography into Painting, Museum of Contemporary Art, North Miami, FL

Scene of the Crime, Armand Hammer Museum of Art, Los Angeles, CA

Spheres of Influence, The Museum of Contemporary Art, Los Angeles, CA

Anthony Caro, Uta Barth & Nancy Chunn, Institute of Contemporary Art, Maine College of Art, Portland, ME

Coda: Photographs by Uta Barth, Günther Forg, Jack Pierson, and Carolien Stikker, Center for Curatorial Studies, Bard College, Annandale-on-Hudson, NY

Digital Ink: Uta Barth, Peter Halley, William Leavitt, James Welling, Center for Visual Communication,        Coral Gables, FL

Light Catchers, Bennington College Art Gallery, Bennington, VT

Passing the Tradition: California Photography, José Drudis-Biada Art Gallery, Mount St. Mary's College, Los Angeles, CA

Uta Barth, Jean Baudrillard, Luigi Gherri, Parco Gallery, Tokyo, Japan

Uta Barth, Rineke Dijkstra, Tracey Moffatt, Inez van Lamsweerde, Matthew Marks Gallery, New York, NY

Summer show, Tanya Bonakdar Gallery, New York, NY

Twenty years...almost, Robert Miller Gallery, New York, NY

Making Pictures, Bernard Toale Gallery, Boston, MA

Portraits of Interiors, Gallery Blancpain Stepczynski, Geneva, Switzerland

L.A. International Biennial: Portraits of Interiors, Patricia Faure Gallery, Santa Monica, CA

Grands Maîtres du XXième, Galerie Vedovi, Brussels, Belgium

ACME., Santa Monica, CA

pool, Rena Bransten Gallery, San Francisco, CA

 

1996   Defining the Nineties: Consensus-making in New York, Miami, and Los Angeles, Museum of Contemporary Art, North Miami, FL

Just Past: The Contemporary in the Permanent Collection, 1975–96, The Museum of Contemporary Art, Los Angeles, CA

Light · Time · Focus, Museum of Contemporary Photography, Chicago, IL

Painting: The Extended Field, Rooseum: Centre for Contemporary Art, Malmö, Sweden. Traveled to Magasin 3, Stockholm Konsthall, Stockholm, Sweden

Absence, Guggenheim Gallery, Chapman University, Orange, CA

Clarity, NIU Art Gallery, Northern Illinois University, Chicago, IL

Making Pictures: Women and Photography, 1975–Now, Nicole Klagsbrun, New York, NY

Portraits of Interiors, Studio la Città, Verona, Italy

silence, Lawing Gallery, Houston, TX

ACME., Santa Monica, CA

Extended Minimal, Max Protetch, New York, NY

Tanya Bonakdar Gallery, New York, NY

Blind Spot: The First Four Years, Paolo Baldacci Gallery, New York, NY

Nature Redux, Channing Peak Gallery, Santa Barbara Arts Commission, Santa Barbara, CA. Traveled to Harris Art Gallery, University of La Verne, CA

...e la chiamano pittura, Studio la Città, Verona, Italy

Wrestling with the Sublime: Contemporary German Art in Southern California, Main Art Gallery, California State University, Fullerton, CA

Chalk, Factory Place Gallery, Los Angeles, CA

Swag & Puddle, The Work Space, New York, NY

 

1995   Human / Nature, The New Museum, New York, NY

New Photography 11, The Museum of Modern Art, New York, NY
Plan, Los Angeles County Museum of Art, Los Angeles, CA

Contemporary Photography from the Permanent Collection, Princeton Art Museum, Princeton, NJ Content and Discontent, Bruce Museum, Greenwich, CT. Traveled to University Gallery, Moscow, ID, and Lowe Art Museum, University of Miami, Coral Gables, FL

ACME., Santa Monica, CA

Contemporary Collections-Fall 95, Los Angeles Center for Photographic Studies, Los Angeles, CA

Between Breath and Air: Uta Barth, Karin Davie, Shirley Irons, Patrick Callary Gallery, New York, NY

Contemporary Collections—Spring 95, Los Angeles Center for Photographic Studies, Los Angeles, CA

From Here to There: Tactility and Distraction, California Medical Arts, Santa Monica, CA

Sitting Pretty, Los Angeles Contemporary Exhibitions, Los Angeles, CA

Neotoma, Otis Art Gallery, Los Angeles, CA

ACME., Santa Monica, CA

Presence: Recent Portraits, Angles Gallery, Santa Monica, CA

Rena Bransten Gallery, San Francisco, CA

 

1994   The Abstract Urge, The Friends of Photography/Ansel Adams Center for Photography, San Francisco, CA

Breda Fotografica '94, De Beyerd Center of Contemporary Art, Breda, The Netherlands

Love in the Ruins, Long Beach Museum of Art, Long Beach, CA

New Acquisitions, Los Angeles County Museum of Art, Los Angeles, CA

Flow, Cerritos College Art Gallery, Cerritos, CA

Diverse Perspectives, San Bernardino County Museum of Art, San Bernardino, CA

Diderot and the Last Luminaire, Waiting for the Enlightenment (A Revised Encyclopedia) or The Private Life of Objects, Southern Exposure at Project Artaud, San Francisco, CA; traveled to SITE, Los Angeles, CA

ACME., Santa Monica, CA

The World of Tomorrow, Tom Solomon's Garage, Los Angeles, CA

Issues of Image, Haines Gallery, San Francisco, CA

Transtextualism, Mark Moore Gallery, Santa Monica, CA

Gallery 954, Chicago, IL

Jayne Baum Gallery, New York, NY

 

1993   Index in French, California Museum of Photography, Riverside, CA

A Carafe, That Is a Blind Glass..., Weingart Gallery, Los Angeles, CA

P.O.P.—A Trilogy, Susan Landau Gallery/1529 Wellesley, Los Angeles, CA

Project Box, domestic setting, Los Angeles, CA

From Without, The Portfolio, Los Angeles, CA

 

1992   Voyeurism, Jayne Baum Gallery, New York, NY

Abstraction in the '90s, Jan Kesner Gallery, Los Angeles, CA

FAR Bazzar, Foundation for Art Resources (FAR), Los Angeles, CA

Jayne Baum Gallery, New York, NY

 

1991   L.A. Times: Eleven Los Angeles Artists, Boise Art Museum, ID; traveled to Western Gallery, Western Washington University, Bellingham, WA

 

1990   Spirit of Our Time, Contemporary Arts Forum, Santa Barbara, CA

The Conceptual Impulse, Security Pacific Gallery, Costa Mesa, CA

 

1989   Deliberate Investigations: Recent Works by Four Los Angeles Artists, Los Angeles County Museum of Art, Los Angeles, CA

Inland Empire Artist Exhibition, San Bernardino County Museum of Art, Redlands, CA

The Narrative Frame, Rio Hondo College Art Gallery, Whittier, CA

University Art Gallery, University of California, Riverside, CA

Uta Barth, Jeff Beall, Paul Boettcher, Eric Magnuson, Roy Boyd Gallery, Santa Monica, CA

Thick and Thin: Photographically Inspired Painting, Fahey/Klein Gallery, Los Angeles, CA

Unconventional Perspectives, G. Ray Hawkins Gallery, Los Angeles, CA

Logical Conclusions, Jan Kesner Gallery, Los Angeles, CA

 

1987   LAICA Artist Exhibition, Los Angeles Institute of Contemporary Art, Beverly Hills, CA

The Flower Show, Theatre Art Gallery, Design Center, Los Angeles, CA

 

1986   Proof and Perjury, Los Angeles Institute of Contemporary Art, Los Angeles, CA

 

1984   Werkstadt für Photographie, Berlin, Germany

Photography, Large Scale New Work, Rex W. Wignal Museum Gallery, Alta Loma, CA

 

1982   56th Annual Crocker-Kingsley Exhibition, E. B. Crocker Art Museum, Sacramento, CA

Five Photographers, Joseph Dee Museum of Photography, San Francisco, CA



BIBLIOGRAPHY

 

MONOGRAPHS

 

2012   Barth, Uta and Paul Soto. Uta Barth: to draw with light. Annandale-on-Hudson: Blind Spot, 2012.

 

2011   Barth, Uta and Jonathan Crary, Russell Ferguson, Tim Martin, and Holly Myers. Uta Barth: The Long Now. New York: Greg R. Miller & Co., 2011.

 

2006   Kaplan, Cheryl. Uta Barth 2006: Just Spanning Time. Minneapolis: Franklin Art Works, 2006.

 

2004   Barth, Uta and Jan Tumlir. Uta Barth: white blind (bright red). Santa Fe: SITE Santa Fe, 2004.

Barth, Uta, Pamela Lee, and Jeremy Gilbert-Rolfe; interview with Matthew Higgs; selected writings by Joan Didion. Uta Barth. London: Phaidon, 2004.

 

2000   Barth, Uta and Timothy Martin. Uta Barth: ...and of time. Los Angeles: J. Paul Getty Museum, 2000.

Smith, Elizabeth A. T. At the Edge of the Decipherable: Recent Photographs by Uta Barth. 2nd ed. Los Angeles: The Museum of Contemporary Art and St. Ann's Press, 2000.

Conkelton, Sheryl, Russell Ferguson, and Timothy Martin. Uta Barth: In Between Places. Seattle: Henry Art Gallery and University of Washington, 2000.

 

1999   Barth, Uta and Jan Tumlir. Uta Barth: nowhere near. Los Angeles: ACME., New York: Bonakdar Jancou Gallery, and Stockholm: Andréhn-Schiptjenko, 1999.

Barth, Uta, and Jan Tumlir. Uta Barth: nowhere near. Overland Park, Kansas: Johnson County Community College Art Gallery, 1999.

 

1995   Smith, Elizabeth A. T. At the Edge of the Decipherable: Recent Photographs by Uta Barth. Los Angeles: The Museum of Contemporary Art, 1995.

 

 

INTERVIEWS

 

2012   Mirlesse, Sabine. "Interview: Sabine Mirlesse in Conversation with Uta Barth." BOMB Magazine 22 March 2012.

Stolz, George. "Uta Barth: Interviewed by George Stolz." ArtReview 15 June 2012.

Turner, Cameron. "Interview: Against Narrative: Uta Barth on Photography, Experience, and Perception." Precipitate: Journal of the New Environmental Imagination vol. 3 issue 1 2012.

 

2011   Soto, Paul. "Literal Photography: Q + A with Uta Barth." Art in America on-line interview 8 October 2011.

 

2010   Barber, Tim. "Uta Barth Interview." THIRTY DAYS – NY 25 April 2010.

 

2007   Horvitz, David. "Uta Barth: Interviewed by David Horvitz." ANP Quarterly no. 9 November 2007: 21–32.

 

2006   Kaplan, Cheryl. "Die Zeit überbrücken...Ein Gespräch mit Uta Barth." Deutsche Bank ArtMag no. 34 April 2006.

 

2005   Myers, Holly. "Uta Barth." Los Angeles Times 20 May 2005.

Higgs, Matthew. pressPLAY: Contemporary Artists in Conversation. London: Phaidon Press: 24-35.

 

1997   Conkelton, Sheryl. "Uta Barth." Journal of Contemporary Art vol. 8 no. 1 Summer 1997.

 

 

SELECTED BOOKS, EXHIBITION CATALOGUES AND OTHER PUCLICATIONS

 

2013   Tate Diary 2013. London: Tate Museum, 2013.

 

2012   America in View: Landscape Photography 1865 to Now. Providence: Museum of Art RISD, 2012.

 

2011   Anthes, Bill and Rebeckah Mondrak. Reframing Photography: Theory and Practice. Oxon: Taylor & Francis, 2011.

Klein, Jacky. "Artists On Artists: The Art of the Past by Artists of the Present." London: Thames and Hudson, 2011.

Millian, Monica. "An Unofficial Biography of Uta Barth: Contemporary Abstract Photography." Webster's Digital Services 24 March 2011.

Wolinski, Natacha. "Traces de Presences." Air France Magazine October 2011.

 

2010   Cohen, Joshua. "Camera Obscura: Novelist Tao Lin projects his life as a series of boredom-filled blog posts." BOOKFORUM vol. 17 issue 3 September-November 2010 (ill).

Gebbers, Anna Catharina, et al. The Library of Babel: In and Out of Place. London: Zabludowicz Collection, 2010.

Krump, James, Kevin Moore, and Larry Rubinfien. Starburst, Color Photography in America 1970 -1980. Princeton: Princeton University Art Museum, 2010.

Marzio, Peter. American Art & Philanthropy. Houston: The Museum of Fine Arts, 2010.

Praun, Tessa. "Thrice Upon a Time." Stockholm: Magazin 3 Stockholm Konsthall, 2010.

Zavistovski, Katia. "Come Curious." Art 21 7 June 2010.

 

2009   Rexer, Lyle. The Edge of Vision: The Rise of Abstraction in Photography. New York: Aperture Foundation, 2009.

 

2008   Bohn-Spector, Claudia, and Jennifer A. Watts. This Side of Paradise: Body and Landscape in Los Angeles Photographs. San Marino: Huntington Library, and London: Merrell, 2008.

The Broad Contemporary Art Museum at the Los Angeles County Museum of Art. Los Angeles: Los Angeles County Museum of Art, 2008.

Förster, Simone, Franck Hofmann, and Walter Smerling. Inside/Outside: Interior and Exterior in Contemporary German Photography. Innenhafen Duisburg: Museum Küppersmühle für Moderne Kunst, and Cologne: Wienand Verlag, 2008. 56.

Horvitz, David. "Uta Barth." A Wikipedia Reader 2008.

Kent, Rachel, and Stephanie Hanor. Southern Exposure. San Diego: Museum of Contemporary Art, and Sydney: Museum of Contemporary Art, 2008.

Smith, Owen F. "Conceptual Art as a Neurobiologic Praxis and The Neuro-aesthetic Reading Room." Histories and Theories of Intermedia blog 2008.

 

2007   Angier, Roswell. Train Your Gaze: A Practical and Theoretical Introduction to Portrait Photography. Lausanne: AVA Publishing SA, 2007.

Depth of Field: Modern Photography at the Metropolitan. New York: The Metropolitan Museum of Art, 2007.

Held Together With Water: Art from the Sammlung Verbund. Ostfildern: Hatje Cantz, 2007. 396.

Horvitz, David. Is that all there is to fire? A show about boredom. Los Angeles: High Energy Constructs, 2007.

Krajewski, Sara.Viewfinder. Catalogue. Seattle: Henry Art Gallery, 2007.

Richardson, Trevor, ed. Landscape Tropologies. Amherst: The University of Massachusetts, 2007.

Roberts, Pamela. A Century of Colour Photography. London: Andre Deutsch, 2007.

Schor, Gabriele, ed. Held Together with Water: Kunst aus der Sammlung Verbund. Vienna: Verbund Collection, 2007. 378.

 

2006   Chee, Yeonsoo, and Constance W. Glenn, eds. City Limits: Shanghai–Los Angeles. Long Beach: University Art Museum, California State University, 2006.

Davila, Iago, ed. Naturaleza: PHE06. Madrid: La Fabrica, 2006.

Fernández, Horacio. El paisaje fotografíco reciente: De la imagen al territorio. Madrid: Museo Colecciones ICO, 2006.

Higgs, Matthew. pressPLAY: Contemporary Artists in Conversation. London: Phaidon, 2006. 24–35.

Hoffmann, Jens. "Me, Myself and I." 75 Years of Collecting. Vancouver: Vancouver Art Gallery, 2006.

Ruiz, Alma. Los Angeles, México: Complejidades y heterogeneidad. Mexico City: Colección Jumex, 2006.

 

2005   Bright, Susan. Art and Photography. London: Thames and Hudson, 2005.

 

2004   Acton, David. Keeping Shadows: Photography at the Worcester Art Museum. Worcester: Worcester Art Museum, 2004.

Cotton, Charlotte. The Photograph as Contemporary Art (World of Art). London: Thames and

Hudson, 2004. 224.

 

2003   Campany, David. Art and Photography. London: Phaidon, 2003. 182.

Hanhardt, John, and Nancy Spector. Moving Pictures: Contemporary Photography and Video from the Guggenheim Museum Collection. New York: Solomon R. Guggenheim Museum, 2003. 54.

Rendell, Jane. "Where the Thinking Stops, Time Crystallises..." Urban Futures: Critical Commentaries on Shaping the City. Eds. Tim Hall and Malcolm Miles. London: Routledge, 2003.

Rondeau, James, Michael Rush, Nancy Spector. Imperfect Innocence: The Debra and Dennis Scholl Collection. Lake Worth: Palm Beach Institute of Contemporary Art, 2003. 48-49.

 

2002   Blink: 100 Photographers, 10 Curators, 10 Writers. London: Phaidon Press, 2002. 440.

Double Exposure. Munich and New York: Edition Schellmann, 2002.

Global Address. Los Angeles: Fisher Gallery, University of Southern California, 2002.

Gonzalez-Fella, Sondra G., Andy Grundberg, and Sylvia Wolf. Visions of America: Photography from the Whitney Museum of American Art 1940­–2001. New York: Whitney Museum of American Art, 2002. 177.

Kertess, Klaus. Photograph Transformed: The Metropolitan Bank and Trust Collection. New York: H. N. Abrams, 2002, 46.

Memory/Society: Displays from the Permanent Collection. London: Tate Modern, 2002.

Modern Contemporary: Art at MoMA since 1980. New York: The Museum of Modern Art and H. N. Abrams, 2002. 385.

Warner Marien, Mary. Photography: A Cultural History. London: Laurence King Publishing, 2002. 477-78.

We Love Painting: Contemporary Art from the Misumi Collection. Tokyo: Museum of Contemporary Art, 2002. 44-45.

 

2001   Brockmann, Jan. Imperfektum, 200. Oslo: Riksutstillinger, National Touring Exhibitions.

Fabry, Alexis, Celine Fribourg, and Gregory Leroy, eds. manger/eat. New York: Coromandel Design, 2001. 80-85.

 

2000   Burnham, Helen. "Uncanny Insites." Insites: Interior Spaces in Contemporary Art. New York: Whitney Museum of American Art, 2000.

Frame: Uta Barth, Duncan Higgins, Carter Potter. Sheffield, England: Site Gallery, 2000.

Fresh Cream. London: Phaidon Press, 2000.

Lyons, Lisa. Departures: 11 Artists at the Getty. Los Angeles: J. Paul Getty Museum, 2000. 86.

Pagel, David. "Themes Out of School." CAArt. Beverly Hills: The CAA Foundation, 2000. 120.

Photography Now. New Orleans: Contemporary Arts Center, 2000.

Rubin, David S. Photography Now: An International Survey of Contemporary Photography. New Orleans: Contemporary Arts Center, 2000. 64.

 

1999   Barrett, Terry. Criticizing Photographs: An Introduction to Understanding Image. 3rd ed. New York: McGraw-Hill, 1999.

Gilbert-Rolfe, Jeremy. Beauty and the Contemporary Sublime, 156. New York: Allworth Press, School of Visual Arts, 1999.

Inselmann, Andrea. Threshold: Invoking the Domestic in Contemporary Art. Sheboygan: John Michael Kohler Arts Center, 1999.

Johnstone, Mark. Contemporary Art in Southern California. Sydney: Craftsman House, 1999. 210.

Pittari, Michael. double vision. Atlanta: Nexus Contemporary Art Center, 1999. 6.

Under/Exposed. Stockholm: Public Art Project, 1999.

Xets kofta. Umeå: BildMuseet, Umeå University, 1999. 52.

 

1998   Bunnell, Peter, Claude Cookman, Malcolm Daniel, et al. Photography at Princeton. Princeton: The Art Museum, Princeton University, 1998. 340.

Doherty, Claire and Soo Jin Kim. Claustrophobia. Catalogue. Birmingham: Ikon Gallery, 1998. 120.

Friis-Hansen, Dana, David Pagel, Raphael Rubenstein, and Peter Schjeldahl. Abstract Painting, Once Removed. Houston: Contemporary Arts Museum, 1998. 112.

FotoFest 98: The Seventh International Festival of Photography. Houston: Rice University, 1998. 228-29.

Heideken, Carl. Xposeptember Stockholm Film Festival. Stockholm: Liljevalchs Konsthall, 1998. 208.

Photography's Multiple Roles: Art, Documents, Market, Science. Chicago: Museum of Contemporary Photography, and New York: Distributed Art Publishers, 1998.

 

1997   Bismuth, Pierre, Saskia Bos, and Hans den Hartog Jager. Blueprint. Amsterdam: De Appel Foundation, 1997. 48.

Clearwater, Bonnie. Painting into Photography/Photography into Painting. North Miami: Museum of Contemporary Art, 1997. 56.

Cork, Richard, Tessa Trager, and Paul Wombell. The Citibank Private Bank Photography Prize 1997. London: Royal College of Art, 1997. 52.

Lahs-Gonzales, Olivia and Lucy Lippard. Defining Eye: Women Photographers of the 20th Century. St. Louis: St. Louis Art Museum, 1997. 16.

Robins, Mark, Sarah J. Rogers, and Lynne Tillman. Evidence: Photography and Site. Columbus: Wexner Center for the Arts, 1997. 104.

Rugoff, Ralph, Anthony Vidler, and Peter Wollen. Scene of the Crime, 169. Los Angeles: Armand Hammer Museum of Art, and Cambridge, Massachusetts: The MIT Press, 1997. 169.

Uta Barth, Jean Baudrillard, Luigi Gherri. Tokyo: Parco Gallery, 1997.

 

1996   Bailey, D. H. Paper or Plastic: On the Production of Absence. Catalogue. Orange, California: Guggenheim Gallery, Chapman University, 1996.  10.

Bertoni, Mario ...e la chiamano pittura. Catalogue. Verona: Studio la Città, 1996. 32.

Browning, Simon, Michael Mack, and Sean Perkins, eds. Surface: Contemporary Photographic Practice. London: Booth-Clibborn Editions, 1996. 236.

Duncan, Michael. Defining the Nineties: Consensus-Making in New York, Miami, and Los Angeles. Catalogue. North Miami: Museum of Contemporary Art, 1996. 44.

Hofmann, Barbara. Der soziale Blick: Gesellschaftliche Bezugspunkte künstlericher Photographie. Frankfurt, Germany: Art Frankfurt, 1996. 40.

Neuman, David, Bo Nilsson, and Sven-Olov Wallenstein. Painting: The Extended Field. Catalogue. Malmö: Rooseum, Centre for Contemporary Art, and Stockholm: Magasin 3 Stockholm Konsthall. 1996. 139.

Samuelsen, Grant. Clarity. Catalogue. Chicago: Northern Illinois University Art Gallery, 1996.

Weiermair, Peter. Portraits of Interiors. Catalogue. Verona: Studio la Città, 1996.

 

1995   Grundberg, Andy. Content and Discontent. New York: Independent Curators International, 1995.

Plan. Los Angeles: Los Angeles County Museum of Art, 1995.

 

1994   Gamblin, Noriko. Love in the Ruins. Long Beach: Long Beach Museum of Art, 1994.

Grundberg, Andy. The Abstract Urge. San Francisco: The Friends of Photography/Ansel Adams Center for Photography, 1994.

Ruiter, Jean. Breda Fotografica '94: Los Angeles. Breda: De Beyerd Center for Contemporary Art, 1994.

Suderburg, Erika. Diderot and the Last Luminare, Waiting for the Enlightenment (A Revised Encyclopedia) or The Private Life of Objects. San Francisco: Southern Exposure, and Los Angeles: SITE, 1994.

Venice Art Walk '94. Venice, CA: Venice Family Clinic, 1994. 28.

 

1993   Jones, Amelia. A Carafe, That Is a Blind Glass... Los Angeles: Weingart Gallery, 1993.

Knode, Marilu. Index in French. Riverside: California Museum of Photography, 1993.

 

1991   Crist, Jacqueline S. L.A. Times: Eleven Los Angeles Artists. Boise: Boise Art Museum, 1992.

 

1990   Johnstone, Mark and Benjamin Weissman. The Conceptual Impulse. Costa Mesa: Security Pacific Gallery, 1990.

Sheldon, Jim L. Uta Barth: Photographs; Jane Calvin: Reflection Recurrence, Rememory; Lorie Novak: Issues of Projection/Photographs and Installations. Andover: Addison Gallery of American Art, 1990.

 

1989   Conkelton, Sheryl and Kathleen Gauss. Deliberate Investigations: Recent Works by Four Los Angeles Artists. Los Angeles: Los Angeles County Museum of Art, 1989.

 

 

SELECTED ARTICLES AND REVIEWS

 

2012   Anglada, Christina. "Uta Barth en Elvira Gonzalez." Nosotros 11 June 2012.

Balustein, Jonathan. "This Week in Photography Books – Uta Barth." APhotoEditor.com 20 July 2012.

Caso, Laura. "Uta Barth – La fotografia es dibujar con lineas de luz." ElMundo.es 29 May 2012.

De las Cuevas, Rafael. "Una raya brillante de luz." Descubrir el arte 22 May 2012.

Municio, Julio. "Uta Barth en la Galeria Elvira Gonzalez." Why on white? 26 June 2012.

Panizo, Javier. "Uta Barth – Luz al final del tunnel." Blogearte 22 June 2012.

Rubi, Amalia. "Luces y sombras de Uta Barth en la Galeria Elvira Gonzalez." InfoEnpunto 6 May 2012.

Sifon, Sara Torres. "La fotografia de Uta Barth en la Galeria Elvira Gonzalez." PAC 21 May 2012.

Vozmediano, Elena. "Uta Barth, los Caminos del sol." El Cultural 22 June 2012.

Wilson, Siona. "Uta Barth." Art Review 28 February 2012.

Yood, James. "Reviews: Uta Barth." Aperture no. 206 Spring 2012.

 

2011   Adler, Alexander. "What's going on Chelasea Round Up!" The Huffington Post 16 November 2011.

Arvia, Janet. "The Art Institute debuts new photographs from Uta Barth." Examiner.com 4 May 2011.

Bush, Bill. "The Haze of Memory: This Artweek, LA (September 19-26)." The Huffington Post 19 September 2011.

Cavanaugh, Amy. "Uta Barth Exhibit." CBS Chicago 6 June 2011.

"Chicago Uta Barth." La Lettre de la Photographie 1 June 2011.

"Going On About Town: Art – Uta Barth." The New Yorker 5 December 2011.

Gopnik, Blake. "Subtlety, Squared." The Daily Beast (Newsweek) 5 November 2011.

"Happenings: Uta Barth Exhibition at Tanya Bonakdar Gallery." Conveyor Magazine 29 November 2011.

Hoetger, M. "Don't Miss – New York: Uta Barth at Tanya Bonakdar Gallery through December 22nd 2011." Art Observed 18 December 2011.

"Interview with Michael Levin." Neutral Density Magazine June 2011.

Ise, Claudine. "Uta Barth." ArtForum 21 June 2011.

K., Laurie. "Uta Barth and More at The Henry Art Gallery." Culture Mob Seattle April 2011.

Kerr, Merrily. "Review: Uta Barth." Time Out New York 29 November 2011.

McCarty, Morgan. "A ribbon runs through Barth's exploration of photography." Chicago Maroon 24 May 2011.

Miller, Brian. "Uta Barth." The Seattle Weekly 15 April 2011.

"New This Month in U.S. Museums." Artnet.com 1 May 2011.

Pearson, Laura. "Uta Barth at the Art Institute of Chicago." Time Out Chicago 25 May 2011.

Snodgrass, Susan. "Uta Barth." Art in America online review 2011.

Stauffer, Tema. "Art Watch Weekly." Mana Fine Arts 7 December 2011.

"The Art Institute of Chicago Presents Work by Los Angeles-Based Artist Uta Barth." Chicago Local Me.me 15 May 2011.

"Uta Barth." Arttattler.com 2011.

"Uta Barth." Artweek LA 14 September 2011.

"Uta Barth." Escape Into Life Digest no. 42 25 October 2011.

"Uta Barth @ Bonakdar." DLK Collection 9 November 2011.

"Uta Barth at 1301PE Gallery." NY Arts Magazine Fall 2011.

Weinstein, Michael. "Review: Uta Barth/Art Institute of Chicago." Newcity Art 30 May 2011.

Wenzel, Erik. "The Curtains of Perception." Artslant.com 11 July 2011.

Westin, Monica. "Uta Barth." Flavorpill 14 May 2011.

Wolinski, Natacha. "Traces de Presences." Air France Magazine October 2011.

 

2010   "Artnet News – Still More Summer Shows in New York." Artnet.com 1 July 2010.

"Checking in with John Casteen, Poet, Teacher." C-Ville Charlottesville News & Arts 26 October-1 November 2010.

"Exceptional Work by Uta Barth at Taya Bonakdar Gallery." All Art News 10 May 2010.

Gleason, Mat. "The Ten Most Underrated Los Angeles Artworld Stars." The Huffington Post 17 August 2010; and Coagula Art Journal 17 October 2010.

Goldman, Edward. "Making the Most of It…" KCRW Art Talk 18 May 2010.

Goldman, Edward. "The Best and Worst of 2010." The Huffington Post 30 December 2010.

Haber, John. "Male Nudes and Absent Women." New.York Art.Crit 13 June 2010.

Halle, Howard. "Critics pics: Best in Photography: Uta Barth." Time Out New York issue 762 6-12 May 2010.

Kane, Tim. "Invisible at Mass MoCA." Albany Times Union 3 June 2010.

Kilston, Lyra. "Uta Barth: Seeing is Forgetting the Name of the Thing One Sees." Art Review 15 July 2010.

Lindblad, J. "Go See – Stockholm: 'Thrice Upon a Time' At Magazine 3 Konsthall." Art Observed 16 September 2010.

Mandelbaum, Audrey. "Uta Barth …to walk without destination and see only to see." X-TRA vol. 13 no. 2 Winter 2010.

McQuaid, Cate. "Echoing Ellsworth Kelly in Electrifying Fashion." The Boston Globe 28 November 2010.

Nilsson, Håkan. "Anonymous motifs come close." Svenska Dagbladet 3 December 2010.

Olofsson, Anders. "Uta Barth at Andréhn-Schiptjenko." Konsten.net 22 November 2010.

Suarez De Jesus, Carlos. "From Ed Ruscha to ManRay: CiFo Exhibits Photos Curated by Tate Modern's Tanya Barson." Miami New Times 21 December 2010.

"Uta Barth." The New Yorker 31 May 2010.

"Uta Barth: …to walk without destination and to see only to see. @ Tanya Bonakdar." DLK Collection 20 May 2010.

"Uta Barth at Andrehn Schiptjenko Gallery, Stockholm." Mousse Magazine and Publishing 22 December 2010.

Zalavistovski, Katia. "Come Curious: The Artist Look." Art: 21blog 15 September 2010.

 

2009   McCusker, Carol. "An Eruption of Color." Color Magazine no. 2 July 2009.

Neil, Lanee. "The Lens of L.A.: From Motion to Stillness." Fabrik Magazine no. 6 Summer 2009.

"Twenty Top Shows." Artnet.com 3 November 2009.

 

2008   "Artnet News – Art Benefits for Obama." Artnet.com 30 September 2008.

"Artnet News – New Museum for Kansas." Artnet.com 17 January 2008.

Dillon, Brian. "Uta Barth: Sundial, In Praise of Indifference." Portfolio: Contemporary Photography in Britain no. 48 2008: 42-47.

Falconer, Morgan. "Uta Barth." Frieze no. 113 March 2008: 191.

Grant, Adrien. "Blur." Seattle Weekly 30 April 2008.

Hammarström, Camilla. "An Eye For Light." Aftonbladet 15 June 2008.

Mead, A. "Critic's Choice: Alison Jacques Gallery." Architects' Journal 12 June 2008: 60.

Myers, Holly. "Uta Barth: Domestic Bliss." Art Review Magazine no. 23 June 2008: 74-81.

Nilsson, Håkan. "A Sideways Perspective." DN 24 May 2008.

Ollman, Leah. "Giorgio Morandi: Bottle by bottle." Los Angeles Times 9 November 2008.

Olofsson, Anders. "Andréhn-Schiptjenko, Stockholm: Uta Barth (15/5­–19/6)." Konsten.net 21 May 2008.

Peterson, Kristen. "What's Private, in Public." Las Vegas Sun 25 May 2008.

Smyth, Cherry. "Uta Barth: Alison Jacques Gallery." Modern Painters vol. 20 no. 7 September 2008: 115.

Wennersten, Lina. "The Art of Seeing." City 23 May 2008.

 

2007   Aletti, Vince. "Uta Barth." The New Yorker 12 November 2007: 14.

"Architectural Photography." Arkitektur DK August 2007.

"Artnet News – USA Fellows Announced." Artnet.com 16 November 2007.

Barth, Uta. "Learning How to Look." Through the Window no. 26 of Exit Madrid May/July 2007: 80-­89.

Bestor, Barbara. "The Big Fix: Hand over the mini-malls." Los Angeles Times 26 December 2007.

Dillon, Brian. "Sundial." Portfolio, Contemporary art in Britain issue 48 2007.

Drohojowska-Philp, Hunter. "Pussy Power." Artnet.com 23 March 2007.

Horvitz, David. "Uta Barth: Interviewed by David Horvitz." ANP Quarterly no. 9 November 2007: 21-32.

Melvin, Jeremy. Blueprint January 2007.

Myers, Holly. "Dynamically capturing the feminist spirit." Los Angeles Times 13 March 2007.

Nelson, Christian.  "Looking vs. Seeing." The Daily Seattle 1 August 2007.

Rosenberg, Karen. "Sundial: Uta Barth." The New York Times 9 November 2007.

"Uta Barth." EXIT Magazine no. 26 May/July 2007: 80-87. Includes "Learning to Look" by Uta Barth.

 

2006   "Artnet News – New Gallery in Venice." Artnet.com 17 Janurary 2006.

Barth, Uta. "Artist Project: Uta Barth—2006." Blind Spot no. 32 April 2006.

Bolland, Mark. "Subject-less Photography." Source 47 Summer 2006: 50-51.

Bosse, Lisa. "Uta Barth." Contemporary no. 84 Fall 2006.

Di Palma, Vittoria. "Blurs, Blots, and Clouds: Architecture and the Dissolution of the Surface." AA Files: Journal of the Architectural Association School of Architecture London no. 54 Summer 2006.

Gerogianni, Irene. "Inner Go Go at Vamiali's: Athens Critics' Picks." Artforum online 24 May 2006.

Kaplan, Cheryl. "Die Zeit überbrücken...Ein Gespräch mit Uta Barth." Deutsche Bank ArtMag no. 34 April 2006.

Minte, Adam. "On Sofas and Sublimity." The Rake Minneapolis 25 September 2006.

Mobley, Chuck. "Everyone Here Is from Somewhere Else." Camerawork 33 no. 2 Fall/Winter 2006.

Wells, Liz. "Writing with Light." Daylight & Architecture (Velux Group) no. 4 Autumn 2006: 3-6.

 

2005   Aletti, Vince. "Uta Barth." The New Yorker 23 May 2005.

Aletti, Vince. "Voices Choices: Photo." The Village Voice 19-24 May 2005: 56.

Allgårdh, Sophie. "Alla anspelningar skymmer insikten." Svenska Dagbladet 17 September 2005.

Baker, R. C. "Voice Choices: Uta Barth." The Village Voice 2–8 March 2005: 87.

Barth, Uta. "Untitled." Blind Spot no. 30 June 2005.

Campbell, Clayton. "Uta Barth at Acme." Flash Art July/September 2005: 122-23.

Chalifour, Bruno. "What Pictures Look Like." Afterimage 32 no. 6 May/June 2005: 42.

Collins, Tom. "Site Santa Fe Revisits the Theme of What We See and How We See It." Albuquerque Journal 18 March 2005.

"Critical Reflections." THE magazine April 2005.

Fischler, Marcelle. "Long Island Journal: Celebrating Art and Wine in Cutchogue." The New York Times 17 July 2005.

Keizer, Garret. "Life Everlasting." Harper's Magazine February 2005.

"Konstgång." På Stan, Dagens Nyheter Stockholm 26 Augus 2005t.

LeMieux-Ruibal, Bruno. "Uta Barth." Lápiz no. 214 June 2005: 89.

McClister, Nell. "Uta Barth at Tanya Bonakdar." Artforum 44 no. 1 September 2005: 304–05.

Mizota, Sharon. "Reality in Abstract." San Francisco Weekly, 29 June 2005.

Myers, Holly. "Uta Barth." Los Angeles Times 20 May 2005.

Nilsson, Håkan. "Kritikerns val." Dagens Nyheter 10 September 2005.

Nilsson, Håkan. "Lekfulla optiska villor." Dagens Nyheter 17 September 2005.

Olofsson, Anders. "Gå och se." Konsten.net 13 September 2005.

Olofsson, Anders. "Samtal med Uta Barth." Konsten.net 9 September 2005.

Swerdlin, Ilana. "In Focus: Themes in Photography." Afterimage January-February 2005.

"Und ewig lockt die Kunst in Düsseldorf." Handelsblatt-Kunstmarkt no. 185 23-25 September 2005. 47.

 

2004   Bowie, Chas. "Double Exposure." The Portland Mercury 30 June 2004.

Keffer, Ruth. "The Subject Is Architecture." ARCCA no. 3 October 2004: 42.

 

2003   Alton, Peder. På Stan, Dagens Nyheter 6 June 2003.

Barth, Uta. Artist project. Adbusters: Journal of the Mental Environment March-April 2003.

Martegani, Micaela. "Uta Barth: Tanya Bonakdar Gallery." Tema Celeste January-February 2003: 89.

Nilsson, Håkan. Dagens Nyheter 31 May 2003.

Olofsson, Anders. "Andréhn-Schiptjenko, Stockholm: Uta Barth (8/5–7/6)." Konsten.net 2003.

Smith, P. C. "Uta Barth at Tanya Bonakdar." Art in America 91 no. 3 March 2003: 120-21.

Zellen, Jody. "Uta Barth at ACME." Art Papers 27 no. 1 January-February 2003: 50.

 

2002   Aletti, Vince. "Voice Choices: Photo." The Village Voice 6-12 November 2002.

"Art Guide." The New York Times 16 August 2002.

Barth, Uta. "Untitled, 2002 Installation Project." Blind Spot no. 22 2002: cover, 1-14.

Boxer, Sarah. "If a Medium Loses Its Message, Is It Still a Medium?" The New York Times 9 August 2002: E30.

Burton, Johanna. "Uta Barth." Time Out New York 7-14 November 2002: 83.

Elgin, Clifford. "Uta Barth, Gerhard Richter and the Influence of Photograph on Painting." Thoughtsonart.com June 2002.

Kidera, Inga. "Home Is Where the Art Is." Chronicle USC 2002. 

Martin, Victoria. "'Global Address' at USC Fisher Gallery." Artweek 22 no. 3 April.

Myers, Holly. "Loaded Questions amid the Treetops." Los Angeles Times 25 October 2002.

Pagel, David. "Some Things Old, Some Things New." Los Angeles Times 10 May 2002: F26.

Steinman, Eric. "Think Globally, Art Locally." Los Angeles Downtown News 31 no. 11 18 March 2002.

 

2001   Conner, Jill. "Blurring the Boundaries." Afterimage 28 no. 5 March-April 2001: 18.

Crowder, Joan. "Photographic Exhibition Covers a Wide Variety of Styles." Santa Barbara News-Press 5 December 2001.

Johnson, Patricia C. "Uta Barth Focuses on Changing Perceptions." Houston Chronicle 12 May 2001.

Klaasmeyer, Kelly. "Blurring the Lines." Houston Press Weekly 14 June 2001.

Kornbluth, Elena. "Triple Exposure, Three Photographers in Focus: Sam Taylor-Wood, Uta Barth, Jessica Craig-Martin." Elle Décor no. 81 February-March 2001: 64.

Lowry, Glenn. "Rencontre avec Uta Barth: 'Champre Libre.'" Connaissance des Arts no. 586 September 2001: 80-83.

Siegel, Katy. "Uta Barth: In Between Places." Artforum June 2001.

 

2000   Aletti, Vince. "Photography about Photography." The Village Voice 29 February 2000.

Barth, Uta. "...and of time." Blind Spot no. 15 Spring/Summer) 2000: 50-57.

Bowen, Dore. "Rattle & Roll: Rattling the Frame, The Photographic Space 1974–1999." Afterimage 27 no. 5 March 2000: 17-21.

Brockmann, Jan. "Imperfektum." Riksutstillinger: The National Touring Exhibitions, Norway 2000.

Dorsey, Catherine. "There's No Place Like Home." Port Folio Weekly 24 October 2000.

Hall, Emily. "Seeing Straight: The Encompassing Worlds of Uta Barth." The Stranger 23 November 2000. 

Harvey, Doug. "Mounds: Monumental Edibles at the Getty Contemporary." L.A. Weekly 10-16 March 2000.

Knight, Christopher. "Fuzzy Images, Focused Ideas." Los Angeles Times 29 December 2000: F1.

Labelle, Charles. "Uta Barth at ACME." Artext no. 68 February-April 2000: 80.

Littlejohn, David. "The Gallery: Hilltop Invitational." Wall Street Journal 24 April 2000: A24.

McGovern, Thomas. "Uta Barth at ACME." Artweek 31 no. 1 January 2000: 23-24.

Pagel, David. "Fresh Riffs on a Theme." Los Angeles Times 1 March 2000: F1, 7­-8.

Siegel, Katy. "Uta Barth: In Between Places at Henry Art Gallery." Artforum September 2000: 56.

St. John Erickson, Mark. "Exhibit that gets you where you live." Daily Press Hampton Roads, Virginia 15 October 2000, J4.

Sundell, Margaret. "Uta Barth at Bonakdar Jancou." Artforum 38, no. 5 January 2000: 114-15.

Thorson, Alice. "The world outside her windows." The Kansas City Star 2 July 2000: I1.

Updike, Robin. "Uta Barth photos offer new angle on the world." The Seattle Times 9 November 2000: E4.

Van Gelder, ,Lawrence. "Footlights." The New York Times 29 February 2000.

"Voice Choices." Village Voice 6-12 November 2000.

 

1999   Aletti, Vince. "Voice Choice." The Village Voice 23 November 1999.

Boxer, Sarah. "The Guggenheim Sounds Alarm: It Ain't Necessarily So." The New York Times 19 March 1999: B35.

Clearwater, Bonnie. "Slight of Hand: Photography in the 1990s." Art Papers September-October 1999.

Exley, Roy. "New Abstract Photography, Towards Abstraction: The Painterly Photograph." Creative Camera no. 358 June-July 1999: 24-29.

Exley, Roy. "Uta Barth: London Projects." Zing Magazine winter 1999: 192-94.

Hackett, Regina. "Out-of-Focus Photography Comes into its Own." Seattle Post-Intelligencer 17 December 1999: E3.

Pagel, David. "Space Exploration." Los Angeles Times 22 October 1999.

Spaid, Sue. "Seeing Eye." The Village Voice 27 April 1999: 147.

Vogel, Carol. "Inside Art." The New York Times 6 August 1999.

Wilkes Tucker, Anne. "Peer Reviews." Art News January 1999: 96.

 

1998   Aletti, Vince. "Voice Choices." The Village Voice 31 March 1998: 86.

Aletti, Vince. "Voice Choices." The Village Voice 15–21 April 1998: 3.

"Art Market." The Art Newspaper no. 85 October 1998: 54.

Brown, Linda. "(Not Pictured) The Presence of Absence." Art Papers November-December 1998: 58.

Currah, Mark. "Uta Barth, London Projects." Time Out London 14-21 October 1998.

Diehl, Carol. "Uta Barth at Bonakdar Jancou." Art in America October 1998: 135-37.

Geran, Monica. "Art and Soul." Interior Design September 1998: 246.

Grabner, Michelle. "Fuzzy Logic." Cakewalk Los Angeles no. 1 Spring/Summer 1998: 19-22.

Grimley, Terry. "Haunting Art from the Kosovo Frontline." Birmingham Post 10 June 1998: 15.

Hedberg, Hans. "The Photograph as Cannibal." Index no. 21 January 1998: 48-55.

Hicks, Robert. "Blurred Images Used to Highlight the Subject." The Villager 15-21 April 1998.

Jana, Reena. "'Spread' at Rena Bransten." Flash Art October 1998: 80.

Johnson, Ken. "Art Guide." The New York Times 17 April 1998: E40.

LaBelle, Charles. "Scene of the Crime." World Art: The Magazine of Contemporary Visual Arts Melbourne no. 16 1998: 80­-81.

Mahoney, Elizabeth. "Claustrophobia." Art Monthly London July-August 1998: 40–42.

Pagel, David. "Diptych World." Los Angeles Times 13 February 1998: F23.

Pederson, Victoria. "Uta Barth." Paper March 1998: 132.

Perchuk, Andrew. "Uta Barth at Bonakdar Jancou." Artforum 37 no. 1 September 1998: 152-53.

Schwabsky, Barry. "In Person; The Art of the Camera." The New York Times 4 October 1998.

Thompson, William. "Monumental Photographs." Spot Fall 1998: 7.

Thrift, Julia. "L.A. Cool." Time Out London 20-27 May 1998: 55.

Tumlir, Jan. "Uta Barth at ACME." Art & Text no. 62 August-September 1998: 90-91.

 

1997   Aletti, Vince. "Our Biennial." The Village Voice 21 January 1997: 85.

Aletti, Vince. "Uta Barth/Rineke Dijkstra/Tracey Moffatt/Inez van Lamsweerde." The Village Voice 25 July 1997.

Birnbaum, Daniel. "Dånande våldshyllning och tyst laboratorium." Dagens Nyheter 18 November 1997.

Conkelton, Sheryl. "Uta Barth." Journal of Contemporary Art 8 no. 1 Summer 1997.

Corlin, Elisabet. "The Extended Field." När & Var, 15 November-1 February 1997.

Folland, Tom. "Uta Barth: S. L. Simpson Gallery." Parachute no. 86 Spring 1997: 44-45.

Greene, David A. "Flashback." The Village Voice 19 August 1997.

Hedberg, Hans. "Bakgrunden träder fram." Svenska Dagbladet 15 November 1997.

Kandel, Susan. "Pointed Images." Los Angeles Times 27 June 1997: F22.

Knight, Christopher. "There Is Evidence of Good Work Found at 'Scene of Crime.'" Los Angeles Times 29 July 1997: F1, 6.

Meneghelli, Luigi. "Portraits of Interiors." Flash Art February/March1997: 122.

Mitchell, Watt. "Review." Casco Bay Weekly December 1997: 30.

Pagel, David. "Inside Jobs: Portraits of Interiors." Los Angeles Times 1 August 1997: F1.

Rugoff, Ralph. "L.A.'s Female Art Explosion." Harper's Bazaar April 1997: 204-05, 246.

Scott, Michael. "Backgrounds Come to the Fore." Vancouver Sun 19 April 1997: B5.

Stament, Bill. "Uta Barth: Field #20 and Field #21." Chicago Sun Times 25 June 1997: 41.

Willette, Jeanne S. M. "Reinventing Photography; 'Photography as Commentary: The Camera (Obscura) and Post-Philosophical Systems.'" Artweek 28 no. 7 July 1997: 16–17.

Wolf, Silvio. "Le Rangioni della nuova—Fotographia analogica." Tema Celeste March/April 1997: 50-52.

 

1996   Aletti, Vince. "Voice Choices." The Village Voice, 9 April 1996.

Aletti, Vince. "Voice Choice: Making Pictures: Women and Photography, 1975–Now." The Village Voice 19 November 1996.

Altgård, Clemens. "De sju provokatörerna." Sydsvenska Dagbladet 8 October 1996.

Arrhenius, Sara. "Död eller." Aftonbladet 16 October 1996.

Barth, Uta. Artist project. In Art & The Home no. 11 of Art & Design November/December: 48-57.

Barth, Uta. "Artist Project: Field 1996." Blind Spot no. 7 1996: 16-19.

Birnbaum, Daniel. "Måleri i nya skepnader." Dagens Nyheter 15 October 1996.

Brisley, C. B. "MoMA: New Photography 11." Art Press no. 209 January 1996: 66.

Browne, Kelvin. "More to Those Images Than Meets the Eye." The Financial Post Toronto 2 November 1996.

Camper, Fred. "Focus on the Invisible." Chicago Reader 25 no. 26 5 April 1996.

Castenfors, Mårten. "Rått avslöjande av måleriets klyschor." Svenska Dagbladet 19 October 1996.

Crowder, Joan. "Nature Redux: A Landscape of L.A. Photographers." Santa Barbara News Press 14 December 1996: D1, 14.

Curtis, Cathy. "Filling the 'Absence.'" Los Angeles Times 4 April 1996: F1, 3.

Dewan, Sheila. "Quiet Please." Houston Press 3-9 October 1996: 44-45.

Foerstner, Abigail. "Altered Perception." Chicago Tribune 12 May 1996: 8 sec. 7.

Gilbert-Rolfe, Jeremy. "Cabbages, Raspberries and Video's Thin Brightness." Art & Design: Painting in the Age of Artificial Intelligence no. 48 May/June 1996: 14-23.

Gravano, Viviana. "Il Rapporto annuale 1995–96: Città minori assai interessanti." Giornale dell'Arte November 1996.

Hixon, Kathryn. "Clarity." New Art Examiner May 1996: 47.

Johansson, Hans. "Maleriskt Foto." Göteborg Observer 8 December 1996.

Johnson, Patricia C. "Communication, or lack of it, is exhibit's theme." Houston Chronicle 20 September 1996.

Jordan, Betty Ann. "Uta Barth and Michael Snow at S L Simpson." The Globe and Mail (Toronto), 2 November 1996.

Kempe, Jessica. "Klargörande som tidsuttryck—nollgradig som konstupplevelse." Dagens Nyheter 15 October 1996.

Kim, Soo Jin. "Undoing Space." In Art & The Home no. 11 of Art & Design Winter 1996: 48-57.

Klinthage, Jörgen. "På jakt efter bilder Måleriet som utvidgat fält på Rooseum i Malmö." Hallandsposten 28 October 1996.

Koeniger, Kay. "Photographs Document Human Places Mostly by Leaving People Out." Columbus Dispatch 23 March 1996.

Leddy, Kim, "Artifacts in Emulsion." Columbus Alive 19–25 February 1996: 7.

Madestrand, Bo. "Humla utan båt?" Expressen 16 October 1996.

Malmqvist, Conny C-A. "Ryktet om måleriets död är betydligt överdrivet." Kvällsposten 20 October 1996.

Meneghelli, Luigi. "Interrogativi sul fotografare." L'Arena 24 October 1996: 35.

Nanne-Bråhammar, Marianne. "Måleri är inte bara...Nya utvecklingstendenser på Rooseum." Arbetet Nyheterna 20 October 1996.

Orstadius, Brita. "Rooseum: En mjuk provokcation." Borås Tidning 11 November 1996.

Pedrosa, Adriano. "Uta Barth: Museum of Contemporary Art, Los Angeles." Frieze May 1996: 47.

Princenthal, Nancy. "Uta Barth...In Passing." On Paper 1 no. 2 November/December 1996.

Simpson, Rebecca. "Flirting with Reality, MoCA Exhibition Explores Transitions of Photographs, Paintings." Sun Post Miami 26 December 1996: 19.

Thrift, Julia. "Uta Barth." Time Out London 15-24 July 1996: 52.

Trevisan, Giorgio. "Tante pitture nessuna memoria." L'Arena 11 July 1996.

Van de Walle, Mark. "Uta Barth at Tanya Bonakdar." Artforum September 1996: 109.

Wachholz, Helga. "Belebung und Erneuerung der Malerei?" Handelsblat 23 November 1996: G1.

Waltenberg, Lilith. "Måleriet har hittat nya vägar." Sydsvenska Dagbladet 6 October 1996.

Weiermair, Peter. "Portraits of Interiors." Studio la Città September 1996: 4.

Zellen, Jody. "What Is a Geographical Space? Uta Barth: ACME., MOCA, Los Angeles." Artpress no. 209 January 1996: 68-69.

Zeylon, Håkan. "Ger en känsla av frånvaro." Sydsvenska Dagbladet 8 October 1996.

 

1995   Aletti, Vince. "Voice Choices." The Village Voice 14 February 1995.

Aletti, Vince. "New Photography 11." The Village Voice 7 November 1995.

Baker, Kenneth. "Five at Bransten." San Francisco Chronicle 22 September 1995.

Bonetti, David. "Gallery Watch." San Francisco Examiner 22 September 1995: C7.

Brun, Donatella. "Regards: Uta Barth." Jardin des Modes Fall 1995: 113.

Decter, Joshua. "Uta Barth at Tanya Bonakdar Gallery." Artforum April 1995: 91.

Fiskin, Judy.  "Trompe l'Oeil for Our Time." Art Issues no. 40 November-December 1995: 27-29.

Green, David A. "Warm and Fuzzy." Los Angeles Reader 3 November 1995: 14-16.

Hagen, Charles. "Found Photographs and Chance: Serendipity." The New York Times 27 October 1995.

Hapgood, Susan. "Uta Barth at Tanya Bonakdar Gallery." Art in America May 1995: 120-21.

Jan, Alfred. "Barth, Casebere, Gursky, Hoffer, Welling: Five Artists Honor the Integrity of the Photograph." Artist/Writer 4 no. 9 November-December 1995: 3­-4.

Kandel, Susan. "A Wry Survey of What Artists Collect." Los Angeles Times, 28 September 1995: F10.

Kandel, Susan. "Uta Barth." Art & Text no. 52 September 1995: 48-53.

Knight, Christopher. "Art in All the Right Spaces." Los Angeles Times 21 September 1995: F1, 11.

Knode, Marilu. "Uta Barth in Conversation with Marilu Knode." Artlies Contemporary Art Magazine Houston no. 7 June-July 1995: 30-32.

Martin, Timothy. "Uta Barth: Focus Series of Exhibtions." Art Talk October 1995: 2.

Rugoff, Ralph. "Smear Tactics." L.A. Weekly 20-26 October 1995: 39.

Schwendener, Martha. "Uta Barth at Tanya Bonakdar Gallery." New Art Examiner April 1995: 41.

 

1994   Aletti, Vince. "Voice Choice." The Village Voice 28 July 1994.

Aletti, Vince. "Voice Choice." The Village Voice 3 August 1994.

Frank, Peter. "Pick of the Week: 'The World of Tomorrow.'" L.A. Weekly 3 March 1994.

Frank, Peter. "Tracing L.A.'s Influence on Artists." Long Beach Press Telegram 3 March 1994.

Hagen, Charles. "Review: Wooster Gardens." The New York Times 28 January 1994.

Jan, Alfred. "Photos Beyond Description." Artist/Writer 36 June 1994.

Jones, Amelia. "Uta Barth at domestic setting." Art Issues no. 35 November-December 1994.

Joyce, Julie. "Images of Anywhere." Artweek 25 no. 16 18 August 1994.

Maclay, Catherine. "Taking Realism to the Extreme." San Jose Mercury News 13 May 1994.

Muchnic, Suzanne. "Uta Barth and Vikky Alexander." Art News November 1994: 166.

Pagel, David. "Life's Intermissions." Los Angeles Times 28 July 1994.

Pagel, David. "Taking a Glimpse into 'The World of Tomorrow.'" Los Angeles Times 24 February 1994.

Papageorge, John. "Putting Abstract Photograph in Focus." Santa Rosa Press Democrat 16 May 1994.

Rogers, Michael. "Love and Art amid the Ruins of California's Paradise Lost." Orange County Register 11 March 1994.

 

1993   Anderson, Michael. "'A Carafe, That Is a Blind Glass' and 'Sugar 'n' Spice.'" Art Issues May-June 1993.

Barth, Uta. Artist project. NOW Time 3 no. 1 Summer 1993: 44-45.

Nolan, Timothy. "Reading Lessons." Artweek 24 no. 7 8 April 1993.

Pagel, David. "Smart and Sensuous." Los Angeles Times 4 March 1993.

Picturebook 1 no. 2 Spring 1993: back cover.

Tumlir, Jan. "Homebodies: P.O.P. at 1529 Wellesley." Artweek 24 no. 6 18 March 1993.

 

1992   Aletti, Vince. "Voice Choices: 'Voyeurism.'" The Village Voice 3 March 1992.

Frank, Peter. "Far Out of Art/LAX." L.A. Weekly 4 December 1992.

Frank, Peter. "Pick of the Week: 'Far Bazaar.'" L.A. Weekly 18 December 1992.

Snow, Shauna. "Artists Cash In on Empty Bank Building." Los Angeles Times 2 December 1992.

 

1991   Howe, Graham, and Pilar Perez. "Portfolio 1991—Southern California." Frame/Work 4 no. 2 1991.

Ross, Jeanette. "Kicking Their Gurus." Artweek 3 October 1991.

Spearman, Will. "L.A. Artists Forego Glitz for Truth." Idaho Statesman 6 September 1991.

 

1990   Crowder, Joan. "Catching the Spirit of Our Time." Santa Barbara News Press 23 November 1990.

Curtis, Cathy. "Brain Busters." Los Angeles Times Orange County edition 28 June 1990.

Curtis, Cathy. "Costa Mesa Group Exhibit Unified by Provocative Nature." Los Angeles Times Orange County edition 25 June 1990.

Harbrecht, Gene. "The Conceptual Impulse." Orange County Register 29 June 1990.

Woodard, Josef. "Spirit of Our Time." Artweek 21 no. 43 20 December 1990.

 

1989   Berland, Dinah. "An Elegant, Graphic Photo Vision." Long Beach Press Telegram 26 February 1989.

Carlson, Lance. "...Or, Images of a Make-Believe Reality?" Artweek 30 September 1989.

Curtis, Cathy. "Photography Lies and Tricks Are Focus of 'Investigations.'" Los Angeles Times 23 October 1989. 

Donohue, Marlena. "Galleries/Reviews." Los Angeles Times 29 September 1989.

Frank, Peter. "Art Pick of the Week: 'Landscape Constructions: Thick and Thin.'" L.A. Weekly 20-26 October 1989.

French, David. "Uta Barth." Visions: Art Quarterly 3 no. 3 Spring 1989.

Gardner, Colin. "Uta Barth at the Los Angeles County Museum of Art." Artforum no. 3 November 1989: 160-61.

Kandel, Susan. "L.A. in Review: 'Deliberate Investigations.'" Arts Magazine December 1989.

Knight, Christopher. "Finding the Point of 'Deliberate.'" Los Angeles Herald Examiner 23 June 1989.

Knight, Christopher. "Narrative Puzzle to Please Eye." Los Angeles Herald Examiner 23 June 1989.

La Palma, Marina. "A Painterly Reading of Photographed Imagery." Artweek 30 September 1989.

Marks, Ben. "Reality Lies Somewhere In-Between." Santa Monica Bay News 15-22 September 1989.

Pagel, David. "Disposable Diagrams." Artweek 14 October 1989: 3.

Rico, Diana. "For Los Angeles Artists, Media Is the Subject." International Herald Tribune 28 April 1989.

Rugoff, Ralph. "Remembering the Present: Advertisements Against Our Own Amnesia." L.A. Weekly 3-9 November 1989.

"Unconventional Perspectives: The Emerging Image." L.A. Style Magazine Fourth Anniversary Issue: Photography in Los Angeles June 1989.

 

1985   Berland, Dinah. "The Truth of Proof and Perjury." Los Angeles Times 6 October 1985.

French, David. "Pick of the Week." L.A. Weekly 17-23 May 1985.

Keledjian, Chris. "Ironies and Contradictions." Artweek 12 October 1985.

 

 

PROFESSIONAL ACTIVITIES

 

2009–present  Graduate Faculty, Art Center College of Design, Pasadena, California

2008–present  Professor Emeritus, Department of Art, University of California, Riverside

1990–2008      Professor, Department of Art, University of California, Riverside

 

 

SELECTED GRANTS AND FELLOWSHIPS

 

2012                John D. and Catherine T. MacArthur Foundation Fellowship

                        Anonymous Was A Woman Grant

2010                Nominated for the 2011 Deutsche Börse Photography Prize

2008                Broad Art Foundation USA Artist Fellowship

2004–05          John Simon Guggenheim Fellowship

1994–95          National Endowment for the Arts Visual Artist Fellowship

1995                AMI Grant (Art Matters Inc., New York), Visual Artist Fellowship

1992–93          AMI Grant (Art Matters Inc., New York), Visual Artist Fellowship

1990–91          National Endowment for the Arts, Visual Artist Fellowship

1983–84          National Arts Association

 

 

PUBLIC COLLECTIONS

 

Akzo Nobel Art Foundation, Arnhem, The Netherlands

Albright-Knox Art Gallery, Buffalo, New York

Art Gallery of New South Wales, Sydney, Australia

Austin Museum of Art

Baltimore Museum of Art, Baltimore

Banco Espirito Santo

Bitzer International, Sindelfingen, Germany

The Capital Group, Los Angeles

The California Endowment, Los Angeles

Carnegie Museum of Art, Pittsburgh

Cisneros Fontanals Art Foundation, Miami

Citibank, London

Citicorp Collection, New York

La Colección Jumex

Creative Artists Agency, Beverly Hills, California

Curators Collection, Inc.

Dallas Museum of Art, Dallas

Denver Art Museum, Denver

Deutsche Bank Art, Berlin

Goldman Sachs International, New York

Groupe Lhoist Collection, Brussels

The Hammer Museum, Los Angeles

The Henry Art Gallery, University of Washington, Seattle

Herbert F. Johnson Museum, Cornell University, Ithaca, New York

Huis Marseilles, Amsterdam

The Israel Museum, Jerusalem

J. Paul Getty Museum, Los Angeles

Jarla Partilager, Stockholm

Joseph Monsen Collection, Seattle

Lannan Foundation, Santa Fe

Leeum, Samsung Museum of Art, Seoul

Los Angeles County Museum of Art, Los Angeles

Magazin 3, Stockholm Konsthall, Stockholm

Melitta Corporation, Minden, Germany

The Metropolitan Museum of Art, New York

Miami Art Museum, Miami

Microsoft Art Collection

MIT List Visual Arts Center, Cambridge, Massachusetts

Moderna Museet, Stockholm

Museum of Art, Rhode Island School of Design, Providence

Museum of Contemporary Art, Chicago

The Museum of Contemporary Art, Los Angeles

Museum of Contemporary Art, North Miami, Florida

Museum of Contemporary Art, San Diego

Museum of Contemporary Photography, Chicago

Museum of Fine Arts, Houston

The Museum of Modern Art, New York

Nerman Museum of Contemporary Art, Overland Park, Kansas

Norton Family Foundation, Santa Monica, California

Oakland Museum of California

Ohio University, Athens, Ohio

Orange County Museum of Art, Newport Beach, California

Phoenix Art Museum, Phoenix

Princeton Art Museum, Princeton, New Jersey

Sammlung Hoffmann, Berlin

San Diego Museum of Art, San Diego, California

San Francisco Museum of Modern Art, San Francisco

Seattle Art Museum, Seattle

Société Privée de Gérance, Geneva, Switzerland

Solomon R. Guggenheim Museum, New York and Bilbao, Spain

Tate Modern, London

University of Kentucky Art Museum, Lexington

Vancouver Art Gallery, Vancouver, Canada

Verbund Österreichische Elektrizitätswirtschafts-AG, Vienna

Walker Art Center, Minneapolis

Weatherspoon Art Gallery, University of North Carolina, Greensboro

Westdeutsche Landesbank

Whitney Museum of American Art, New York

Worchester Art Museum, Worchester, Massachusetts

Zabludowicz Collection, London

 

Uta Barth: Seeing Is Forgetting the Name of the Thing One Sees

By Lyra Kilston, ArtReview

This past year, Uta Barth moved for the first time in 18 years. While packing up and leafing through her possessions, she came across some photographs she had never shown, and in fact had completely forgotten about. Made between 1979 and 1982, during her last year of college and her first months in graduate school at University of California, Los Angeles, the small black-and-white images were displayed in the gallery's bottom floor rooms. The images included studies of a ribbon of sunlight gleaming beneath a heavy curtain, shadows of legs in a rectangle of light, portraits of the artist with three-fourths of her body in shadow and then in brightness, empty chairs, a field of snow with just a few naked twigs, and a series of banal objects (a newspaper, wires, a ladder) moved around a room. Barth stated, in the gallery's accompanying monograph, that she was deeply pleased to discover that the elements she has ardently pursued in her work - tracking time, tracing light, vacant centres, minimal and peripheral content - were present nearly 30 years ago. This show, with older, forgotten work on the first floor and a new series upstairs, presents the bookends to a remarkably consistent, and distilled practice.

In the past few decades, Barth has become known for contemplative photographs of domestic scenes devoid of action, let alone humans. Golden slices of sunlight spill neatly onto floors and furniture embodying the serenity of late afternoons spent watching the room slowly change, while her studies of flowers and branches in vases hum with a reverence for the simple beauty found in observing the everyday. Barth has long followed the Zen notion of what she calls a 'choice of no choice': she refrains from intentionally seeking out photographic subjects and instead turns her camera towards what is already around her - the sundial of her home. Through this disciplined practice, her work highlights the act of seeing as an autonomous undertaking. She does not seek out things in order to make a photograph, she makes photographs of what she happens to see.

Upstairs were diptychs, and one triptych, of tree branches twinned with the artist's shadow cast across a street or sidewalk. This signals a significant departure from the past ten years of Barth's working solely inside (a confinement that conjures another housebound creative mind, Emily Dickinson, who was also captivated by 'a certain slant of light' in which 'shadows hold their breath'). Barth wandered outside and pointed her camera up, and then down. Sometimes the artist's feet are visible along with the two long shadows of her legs cast against the grain of asphalt-dark lines creating angles as they cross sidewalk cracks or the dividing paint on a street. The tree branches are all set against a stark white sky, photographed so that only the centre of the image is in focus, the rest of the splintering branches, leaves or berries blurring into near abstraction. The result is a surreal, almost artificially constructed version of the branches, reminiscent of JoAnn Verburg's uncanny portraits of olive trees. Occasionally Barth takes further liberties with representation, as in two prints where the negative images of her legs' shadows throw chalky white lines across the darkened pavement, a reminder that we are looking at an imprint of light, not the world.

The title of this show, appropriately, is another Zen koan made popular among the art crowd by Lawrence Weschler's brilliant book about Robert Irwin. (Both Irwin and Barth also share a debt to the local light, so raucously present here.) Barth described her recent perambulations outside as without destination, aimed only at seeing - thus we never look straight ahead, but only at what light and shadow are doing above and below the artist's body. For more than 30 years Barth has stayed true to a pursuit of perception, each portrait capturing time, light and, yes, even being with exquisite grace.


Interview with Uta Barth

Sheryl Conkelton, Journal of Contemporary Art

Uta Barth's recent project examines the conventions of photographic presentation. Over the past three years she has created two series, Ground and Field , which consist of blurred images generated by focusing the camera on an unoccupied foreground. These unframed, empty images present only background information, implying the absence of subject and referring to the function of images as containers of information. The untitled images of Ground show landscapes and interiors and make reference to the compositional conventions of still photography and painting. The images in Field , Barth's latest series, mimic cinematic framing conventions in a subtle query of the visual structures that imply movement or activity in the foreground.

Sheryl Conkelton: In each of your series, beginning with your earliest work, you have explored the formal and cultural conventions of image making, drawing attention to problematic aspects encountered in the production of imagery and in the reading/response to it. Your early work was confrontational in its conception and its presentation; I'm thinking about the early photographs of you under an interrogating gaze that were shown at the Los Angeles Institute of Contemporary Art (LAICA) as well as the mix of optical illusion, abstraction and photographed vignettes from the Untitled series shown in Deliberate Investigations at the Los Angeles County Museum of Art in 1989. The Ground series is much more seductive (as are the Fields ). Would you talk about your moving from a somewhat aggressive stance in the earlier series to this more unified and quieter imaging in the latest series, and about the affect on the viewer you are exploring?

Uta Barth: Actually the shift was not dramatic. One body of work literally grew out of the other. The very first "background" images appeared within the groupings you mention, juxtaposed with optical painting, large monochromatic fields of color and other photographs. I became very interested in them and started a separate series of landscape backgrounds which were based on vernacular conventions/snapshot photography of people in front of scenic landscapes. At that time I had made a very conscious decision to produce several projects that were formally quite different yet linked by addressing different aspects of vision, thereby bringing the activity of looking to the foreground as the common denominator. I wanted these three formally and structurally quite different projects to be exhibited simultaneously so it would be evident that the territory of the work was at the point of intersection. Previously people tended to get easily lost by the formal aspects of my work or became preoccupied by reading a certain "politic of the gaze" as the overpowering and singular "meaning," and I wanted to confuse and complicate that reading and shift into larger questions that could cover more territory. At a certain point I felt that the background images, in and of themselves  - in a much simpler way - did what I wanted my work to do for a long time: they quite literally inhabit the space between the viewer and the piece hanging on the wall and they do transfer one's visual attention beyond the edges of the picture, onto the wall it is hanging on, into the room as a whole, to the light in the room and even outside again... Their scale and composition is vaguely familiar, reminiscent of other pictures we may know. I am interested in the quietness of the new work and how that allows these associations to be noticed.

Conkelton: The spectator plays a very active role in arriving at/determining meaning for your work. Could you elaborate on that role in terms of what you intend as well as the larger (aesthetic or philosophical) significance of the viewer's participation?

Barth: It seems to me that the work invites confusion on several levels, and that "meaning" is generated in the process of "sorting things out." On the most obvious level, we all expect photographs to be pictures of something. We assume that the photographer observed a place, a person, an event in the world and wanted to record it, point at it. There is always something that motivated the taking of a photograph. The problem with my work is that these images are really not of anything in that sense, they register only that which is incidental and peripheral implied. Instead, there are some clues to indicate that what we are looking at is the surrounding information. (The images lack focus because the camera's attention is somewhere else. Many of the compositions, while clearly deliberate and carefully arranged in relation to the picture's edge, are awkward, off balance and formally suggest a missing element.) Slowly it becomes clear that what we are presented with is a sort of empty container and it is at that point that people begin to "project" into this space. It begins to read as an empty screen. A second aspect might be that many people relate to the pictures in terms of memory. They are pretty saturated with the formal conventions of portraiture and one has a sense of inescapable familiarity when looking at them. What comes to mind is an entire inventory of other pictures seen. The point of engagement that perhaps interests me the most, though, has to do with one's perceptual reorientation in relation to the pictures when trying to decode the space described. If the "subject" is not fixed within the image on the wall, but instead is indicated to be in front of that, then the "location" of the work hangs somewhere between the viewer and the wall, in that empty space we are looking through. In some images, when you locate the camera's point of focus, you will find it to be that of an extreme closeup. The location of the implied subject is pushed so far forward that it aligns itself with the very place one is standing in front of the picture. So suddenly the imagined "subject" and the viewer are standing in the same place. The dynamic brings to mind one of the traditional questions raised about minimalist art: what has happened to the subject/where is the subject located when you are looking at an empty room or a seemingly blank wall? The answer, of course is that the viewer is the subject in/of this work.

Conkelton: I am interested in the notion of confusion, in its usefulness "even power" as a mechanism that triggers or motivates a viewer's response. I think it relates to minimalism, too, in this way: that minimal art proposes that a viewer relocates her or his self in relation to the object and its space, presenting a confrontation or a confusion of subject and object.

Barth: A certain kind of confusion or questioning is the starting place of confronting much of the work. Certain expectations are unfulfilled: expectations of what a photograph normally depicts, of how we are supposed to read the space in the image, of how a picture normally presents itself on the wall (contained and enclosed by a frame that demarcates the area of interest and separates it from all that surrounds it in the room), etc. This kind of questioning and reorientation is the point of entry and discovery, not only in a cognitive way, but in an most visceral, physical and personal sense. Everything is pointing to one's own activity of looking, to an awareness and sort of hyper-consciousness of visual perception. The only way I know how to invite this experience is by removing the other things (i.e., subject matter) for you to think about. I think all of this adds up to the conflation of subject and object that you are asking about.

Conkelton: I also think that the confusion/relocation of subject is key to the work in terms of actual and discursive spaces that the pieces work in. I am interested in the oscillation of "subject," or more precisely, in the relocation of the meaning between photography's referential, phenomenological aspect and its discursive, ontological aspect. In both the Ground and Field series there are multiple possibilities: to respond to the photographs as images of something, as objects in a room with particular visual and physical relationships, and as critical inquiry into the nature of photographic reproduction and its limits. I see this tension as a site of engagement and power in your images. There is also an effective tension in the relationship of your images to abstract painting in terms of a shared formal character. That is obviously intentional. Is there a particular aspect, whether it is a subversion of expectation or even a reference to past conceptualizations about these media - painting and photography - that is compelling to you?

Barth: I think the relationship to abstract painting exists most in the interiors. I am not sure how intentional this was at the outset of the project, but at a certain point I realized that my process of selecting, framing and composing these photographs which had no central subject shared much of the territory of, and produced pictures that look similar to, certain minimalist, abstract painting. It is an odd intersection of two projects that at a certain point share a similar investigation. I am interested in this intersection and what it may tell us about the relationship of the two. I obviously invite and acknowledge it, by even the titling of the work: "ground" as in foreground/background, but also figure/ground or even the physical material/surface a painting is made on. I am interested in looking at the interplay between these photographs and particular issues of painting, but I am not using one medium to simply reenact the qualities and characteristics of another. It is not my project to make photographs that "look just like paintings." I think the idea of producing photographs that would simply imitate, mimic or in other ways aspire (implying some odd hierarchy) to be "just like paintings" would be rather problematic and pointless. I know that this is an aside to what you are asking about, but it might be a place to address a related question about all of the Ground and Field pieces which I hear frequently. What I am thinking about is the reading and description of the use of blur in my work as "painterly." I think this is quite inaccurate. Blur, or out-of-focusness due to shallow depth of field, is an inherent photographic condition; actually it is an inherent optical condition that functions in the human eye in exactly the same way it does in a camera lens. It is part of our everyday vision and perception, yet for the most part we are not very aware of it, as our eyes are constantly moving and shifting their point of scrutiny. We do not "see" it unless we make a conscious effort to observe the phenomenon. The camera can "lock-in" this condition and give us a picture which allows us to look at (and focus on) out-of-focusness.

Conkelton: I'd like you to talk about the superficial resemblance of your work to some of Gerhard Richter's efforts: it seems to me (and to others) that Richter is interested in the spectacle of the photographic image of paint and in the reproduction of reproduction, and in the critique of modernism implicit in both these things, whereas your work has always been tied to an investigation of the physiological act of seeing - more immediate, about sensation and allusion; about locating oneself in relation to the work and then to a conceptualization that is not necessarily critique. Would you talk about these ideas?

Barth: I get asked about Richter very often, and while I am a great admirer of his work I am not sure that I can see much, if any, relationship in what we are doing. The comparison is always based on the use of blur, on a similar look to the work. I do think we each end up with this for very different reasons. In my work much of the information in the picture is out of focus because what is depicted in the image lies behind the camera's plane of focus. This has been a device for indicating a foreground, for implying the information not depicted and for lifting that plane off the wall toward the viewer. I think that originally Richter's use of blur came about through creating numerous generations of source material, working from photographs that had been printed in newspapers, then Xeroxed, often repeatedly. The information of the original image became more and more diffuse with each generation and he hung on to the look of that in the paintings, even exaggerating it more. The primary effect of this blurriness in both of our work is that the image becomes generalized, almost generic. Specificity of time and place drop away and one starts to think about the picture, as much as what it is of. I think Richter and I are both making pictures of and about other pictures. I have never been interested in making a photograph that describes what the world I live in looks like, but I am interested in what pictures (of the world) look like. I am interested in the conventions of picture making, in the desire to picture the world and in our relationship, our continual love for and fascination with pictures. I want my work to function on two levels: to elicit the sense of familiarity of looking at an image that has the structures and conventions of a history of picture-making embedded in it, to make you aware of that, and at the same time to shift your attention to the very act of looking (at something) to your own visual perception in that particular moment, in the particular place that you are viewing the picture in. These two things are related.

As far as your question about a "critique of modernism," I think that this critique is so deeply embedded (and embraced) in much of the work that I see being made these days, but it is seldom at the forefront. Maybe it is an argument that has been made, something that we know and work within at this point in time. In looking back it appears that some of the dividing lines between modernism and postmodernism are blurring and some of the areas of investigation that were thrown out are being revisited and rethought. Even thinking about Richter's work, it seems to me that his current painting, in its choice of subject matter, is moving through an archive of what I see as quintessential German imagery, German cultural iconography... I read this as an analysis, an act of collecting and examining, of listing, but not necessarily as a critique.

Conkelton: An important aspect of your work, particularly in the images of interiors in the Ground series, is affected by site-specific installations that recreate the relationship of image and exhibition space. This concern in some way overrides the conceptualization of the images as containers. Do these interiors, in fact, function very differently from the landscapes in the Ground and Field series?

Barth: Yes, I think you are absolutely right about that. The interiors, by sort of laying claim to all of the surrounding space, indite the whole environment, whatever room they are shown in, as part of the work. The project becomes architectural in some sense and, I think, to some degree the space itself becomes the piece and functions as the site of engagement. The Field s are very different in this way. They line up on the wall, in the same scale and screenlike format, spaced irregularly in a way to give the empty wall area as much importance as the actual pieces. They are clearly pictures of other places, outdoor scenes and at best double as a screen within the gallery environment. They are more optical, do not have a static composition of the Ground s, and imply movement both by the camera and whatever activity that is motivating the image. One has a sense of being made aware of one's peripheral vision, of what you see when you turn your head toward something, of what you might see while in motion.

Conkelton: How do you choose your subjects for the individual pictures. Do you have an actual (existing) film image or photograph in mind? Are you working from a typological model (for which you might have a list of types of images that you are trying to exhaust)? Or is it more intuitive and experiential?

Barth: The first images of the Ground series were chosen by seeking out the stereotypical, vernacular, visual vocabulary of what might constitute an ideal scenic or picturesque backdrop. They are almost a listing and reenactment of the most commonly found choices. Most of the images in this series are of nature, some are based on the backdrop conventions of portrait-studio photography - but even there most of the references, while sometimes abstracted, are still of an idealized nature (as in the mottled blue seamless background paper used in yearbook and drivers license pictures to mimic a sunny blue sky). The references to existing images in the interior works become much more subtle. At a certain point of that project, I realized that one of the images I had made ( Ground #30 ) had the exact same proportions, layout of the room and quality of light as that of a Vermeer painting [ The Milk Maid , 1658-60] that I had spent much of my life looking at. This was unintentional on my part when I made this photograph, but it seemed that Vermeer was the perfect subtext for this body of work, and as a reference I made an additional image in the series [ Ground #42 ] which included, in the background, the two small Vermeer reproductions I had grown up with in my home. I have obviously spent much time looking at various periods and styles of portrait painting and photography, ranging from the very self-consciously posed to casual family snapshot images. Early black-and-white Hollywood glamour photography is very interesting for example. Many of these images were made on white sets and the information in the background was created purely through the use of light and shadow. The shadows were often cast by objects and simple geometrical shapes arranged to create some kind of compositional balance in relation to the individual posed for the picture, and these objects are not visible in final photograph. Many of the recent interior images I have made consist almost exclusively of shadow information.

Some other pieces are loosely based on observed imagery that has been overused to impart meaning through context: the large bookcase behind the seated interviewee imparts intellectual authority, the woman posed by the spray of cherry blossoms assumes their beauty and fragility...once you become aware of these cliches you see them everywhere, in the pictures of authors found inside book jackets, on the evening television news and interview programs, etc. These are very clumsy ways to assign meaning. I find them amusing and interesting and have used them in several images of my own. The images in the Field series work much the same way. Most are based on some visual device I have observed in a film, but they are not literal recreations of a particular scene. I think I do have certain styles of filmmaking in mind when I go out to photograph. I end up driving around various neighborhoods of the city looking for a place that is general, neutral enough to not interfere or visually compete with what might take place in the foreground...it is kind of like location scouting. It is not random: I am definitely looking for a place that has very particular, "atmospheric" characteristics.

Conkelton: Many of your installations of works from the recent series are predicated on an ensemble of images working within the confines of a particular space, and you are now in fact working on two projects in which you work very directly with a specific space. How do you proceed with a site-specific project in terms of creating or selecting the images that it comprises?

Barth: The 1994 exhibition at domestic setting [a Los Angeles gallery] was the beginning of the interior project and it was a site-specific piece. This gallery existed in an empty house, and many of the early interior images were photographs made in and for this space. Much of the show consisted of photographs that were pictures of the very wall they were hanging on and the series as a whole was designed for that space. I imagined the space as a home and made pieces that would double for the kind of pictures one might find there. Therefore all of the pieces from this series are different sizes and formats. They were hung in small clusters and pairings throughout the house, in corners and hallways, above the fireplace, much as a collection of family portraits and other pictures might exist in a home. When pieces from this project were installed in other exhibition sites like the Museum of Contemporary Art in Los Angeles, or the Rooseum in Sweden, they still retained some site-specific quality. Most empty corners and doorways do look alike, so when a picture of a corner is moved to a new space it still tends to read as relating to that particular location. Recently I was commissioned by the Wexner Center to make a work based on their exhibition space, which is a very visually assertive building by Peter Eisenmann. I looked at many floor-plans and photographs of the space before I flew out to see it, and when I spent some time inside the galleries I decided that what I wanted to do was not so much reiterate or even address the overt aspects of the architecture, but instead find a way to articulate the space the viewer would occupy in this very spectacular kind of building. I wanted to find a way to redirect the attention. The piece is simple and consists of three very large photographs of two opposing walls in the north gallery. Two images depict the empty exhibition wall and part of the glass work rising above. The third image is of the opposing wall and it includes, at the very edge, a partial view of a pillar which is located in the center of the gallery space. This pillar is the only information that is depicted in sharp focus in these photographs, thereby articulating the center of the gallery space - the place where you might stand to view the art or the building - as the arena of investigation. The end result of the piece is that these three large photographs of empty walls are actually pointing at and describing the center of the room.

Conkelton: What other projects are you working on now that expand the themes we've been talking about or move you in a new direction?

Barth: Looking back, I find all of this work linked by an interest in visuality and perception. Light has been a theme throughout: in early instances it appears as invasive, interrogational and blinding. In more recent images it is atmospheric and all engulfing. My primary project has always been in finding ways to make the viewer aware of their own activity of looking at something (or in some instances, someone.) The highly optical pieces did this in a rather jarring, confrontational way - inviting voyeurism and at the same time hindering or frustrating your ability to see and decipher an image; the current work by straining your perception of things that are barely visible, in some instances depicting pure light itself. For many years now I have been collecting pictures in which the background interests me, sometimes for purely formal and compositional reasons, at other times because the type of location or subject matter or even some odd relationship occurs between background and subject. Mostly I find them in newspapers and magazines and I cut and crop out the section of interest to me and pin it to my studio wall. I have never directly recreated or reproduced any of these found pictures, but have made images based on them. Recently I have become very interested in this collection of small clippings in and of themselves. They have served as source material, yet function in a very interesting way on their own. Most of them include a small section of a figure that has been cut away. They have a shoulder, a hand or part of a face at the very edge, but because of the way I have cut them, the center of the pictures, the place we are trained to look at, is now empty. I am currently working with a small collection of these images which started out as notes and source material ad using them in a recently published small sketchbook-like portfolio.

This interview was conducted between mid-August and November 1996.


Uta Barth


Margaret Sundell, Artforum


Walter Benjamin described aura that intangible quality that distinguishes an object from its photographic reproduction as the effect of a thing's "unique existence." According to Benjamin, not only do photographs lack their own aura, they destroy the ones objects possess by supplanting a singular presence with a potentially infinite number of copies. But ironically, because what it captures is less the object per se than the unrepeatable instant when the object stood in front of the camera's lens, photography heightens our awareness of the very uniqueness it simultaneously undermines. The medium raises the stakes of uniqueness to encompass the passage of time, and, as a result, the object is not lost just once, as it were, in the shift from reality to representation; it is lost endlessly. Or rather, the moment is lost (along with the object) with every fresh act of perception.

It is precisely this aspect of photography to which Uta Barth draws our attention in "nowhere near," 1999, a series of twenty images of the view out the artist's living room window, shot over a twelve-month span. As you move from one work to the next, it takes a few minutes before the realization hits: You've already seen those trees, this telephone pole, that particular patch of grass but from a slightly different angle and suffused with a different shade of light. The rift between the sameness of Barth's subject and the difference of its appearance in each photograph drives home the impossibility of separating the truth of an object from the moment in which it is perceived and, by extension, of ever grasping a thing in its fullness at any given instant. (Barth reiterates this tension on the level of the work's display by dispersing her series in three concurrent exhibitions; in addition to the New York venue, the work could be seen at ACME in Los Angeles and Andrehen-Schiptjenko in Stockholm.)

The photographs in "nowhere near" are not merely singular; they are resolutely partial. Our access to what lies beyond the window is always to some extent blocked - most often by the window frame itself, which cuts a latticework across the scene. Frequently, this obstruction is compounded by an extremely shallow depth of field, which blurs the background into a haze and renders the specks of dust and dirt on the windowpanes almost palpable. The result is a nagging sense of something eluding our grasp. But what? It's hard to imagine a less compelling subject than Barth's nondescript suburban yard. Hence the double entendre of the series' title: Are we looking for something that, although out there, remains at an unbreachable distance, or are we just seeing the nothing that's right there in front of our eyes?

Barth is scarcely the first to assert what might be called photography's "absence-as-presence," and the window as a metaphor for human vision is so well-worn it runs the risk of cliche. But Barth never crosses that line. By making the window an active (often dominant) element, Barth foregrounds the act of perception, of framing and selection. But the blunt matter-of-factness of her photographs keeps them from feeling contrived. (These windows are clearly physical objects, not just metaphorical statements.) The literalness of Barth's images - along with their banal subject matter and serial logic - align "nowhere near" with Conceptual projects like Ed Ruscha's Twentysix Gasoline Stations. However, Barth departs decidedly from Ruscha's snapshot aesthetic. Although dispassionate, her photographs are also slow and deliberate. Barth's work is less a retrenchment from the critical terrain staked out by Conceptualism than an attempt to augment it with what Conceptual art traditionally denies: namely, aesthetics. Barth's work is indeed beautiful, but her ultimate concern is less the power of aesthetics to seduce than its capacity to generate a specific form of knowledge (one that is neither empirical nor conceptual): in this particular case, the knowledge of what it might be like to momentarily inhabit the gap between an object's existence and our ability to pin it down.