Josephine Meckseper, 1964
Josephine Meckseper’s work conflates the aesthetic language of Modernism with the formal languages of commercial display and advertising. In her shop window installations, large-scale display sculptures and films, Meckseper exposes the paradoxes of consumer culture through the combination of mass-produced objects with images and artefacts of historical and political events.
Artworks
PELLEA[S], 2018, Film
Untitled, 2017, Acrylic sheeting on wood substrate
Untitled, 2017, Pigment print on anodized aluminum, pigment print on acrylic sheeting
Untitled, 2017, Pigment print on anodized aluminum, pigment print on acrylic sheeting
Untitled, 2017, Pigment print on anodized aluminum, pigment print on acrylic sheeting
HERE AND ELSEWHERE, 2015, 3 x Shelves: Chemetal laminated to MDF Ultralite Shelves Components; Shelf 1: Denim stretcher Shelf 2: Glass bottle, silicone rubber, cigarettes, glassware, ink jet prints, acrylic, mirrored acrylic sheeting Shelf 3: Acrylic medium and acrylic paint on denim
Exhibitions
![Josephine Meckseper: Pellea[s]](/site/assets/files/22409/untitled8_col2_adjusted.jpg)
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Josephine Meckseper, 1964
Josephine Meckseper’s work conflates the aesthetic language of Modernism with the formal languages of commercial display and advertising. In her shop window installations, large-scale display sculptures, and films, Meckseper exposes the paradoxes of consumer culture through the combination of mass-produced objects with images and artefacts of historical and political events.
Meckseper’s work has been included in two Whitney Biennials (2006 and 2010); the Sharjah Biennial (2011); the Taipei Biennial (2014); and the National Gallery of Victoria Triennial (2017–18). In 2007 a major retrospective on her work was organised by the Kunstmuseum Stuttgart. Meckseper’s large-scale public project, Manhattan Oil Project, was commissioned by the Art Production Fund and installed in a lot adjacent to Times Square in New York, in 2012. In 2015 her works were featured in Storylines, Solomon R. Guggenheim Museum, New York; and America Is Hard to See, Whitney Museum of American Art, New York.
Her works are in the permanent collections of numerous institutions, including the Whitney Museum of American Art, New York; The Solomon R. Guggenheim Museum, New York; the Museum of Modern Art, New York; the Metropolitan Museum of Art, New York; and the Migros Museum, Zurich.
Josephine Meckseper was born in 1964 in Lilienthal, Germany and now lives and works in New York. She received her MFA from Cal Arts in 1992. Prior to this she studied at the Hochschule der Künste, Berlin (1986-90).
Biography
| 1964 | Born in Lilienthal, Germany |
| 1992 | MFA, California Institute of the Arts, Valencia, California, USA |
| 1990 | Graduate Studies, Hochschule der Künste, Berlin, Germany |
Selected Solo Exhibitions
| 2019 | PELLEA[S], Timothy Taylor, New York, NY, USA |
| Josephine Meckseper, Grzegorzki Shows, Berlin< Germany | |
| Josephine Meckseper, Frac des Pays de la Loire, Carquefou, France | |
| 2018 | Josephine Meckseper, MOSTYN, Wales, UK |
| 2017 | Josephine Meckseper, Proyectos Monclova, Mexico City, Mexico |
| On View: Josephine Meckseper, Timothy Taylor 16×34, New York, NY, USA | |
| 2016 | Josephine Meckseper, Galerie Reinhard Hauff, Stuttgart, Germany |
| Josephine Meckseper, Gagosian Gallery, Paris, France (catalogue) | |
| 2015 | Josephine Meckseper, Timothy Taylor, London, UK (catalogue) |
| Silver Shadow, Half Gallery, New York, USA | |
| 2014 | 2X(I)ST, Neuer Aachener Kunstverein, Aachen, Germany |
| 2013 | Josephine Meckseper, Andrea Rosen Gallery, New York, USA |
| Josephine Meckseper: Platform, Parrish Art Museum, Water Mill, New York, USA | |
| 2012 | Josephine Meckspecker, Worpsweder Kunsthalle, Worpswede, Germany |
| American Leg, Window Spaces, Contemporary Art Gallery, Vancouver, Canada | |
| Manhattan Oil Project, with Art Production Fund, The Last Lot, Times Square, New York, USA | |
| 2011 | Josephine Meckseper, Timothy Taylor Gallery, London UK |
| Josephine Meckseper, The FLAG Art Foundation, New York, USA (catalogue) | |
| Josephine Meckseper: Contaminator, ARNDT, Project Room, Berlin, Germany | |
| 2010 | You can leave your hat on, Galerie Reinhard Hauff, Stuttgart, Germany |
| Josephine Meckseper, Elizabeth Dee Gallery New York, USA (catalogue) | |
| 2009 | Josephine Meckseper, Aussetellungshalle zeitgenössische Kunst, Münster, Germany |
| Josephine Meckseper, Aussetellungshalle | |
| Josephine Meckseper: Recent Films, Indianopoilis Museum of Art, Indianopolis, USA | |
| Josephine Meckseper, John McWhinnie at Glenn Horowitz Bookseller, New York, USA | |
| Josephine Meckseper, Blaffer Gallery, The Art Museum of the University of Houston, USA | |
| American Apparel, Nottingham Contemporary, Nottingham, UK | |
| Josephine Meckseper, Migros Museum Für Gegenwartskunst, Zurich, Switzerland (catalogue) | |
| 2008 | New Photography 2008: Josephine Meckseper and Mikhael Subotzky, Museum of Modern Art, New York, USA |
| Josephine Meckseper, Arndt & Partner, Berlin, Germany | |
| Josephine Meckseper, Elizabeth Dee Gallery, New York, USA | |
| Josephine Meckseper, Colette, Paris, France | |
| Josephine Meckseper, GAK, Gesellschaft für Aktuelle Kunst, Bremen (catalogue) | |
| 2007 | Josephine Meckseper, Kunstmuseum Stuttgart, Stuttgart (catalogue) |
| Josephine Meckseper, Galerie Reinhard Hauff, Stuttgart, Germany | |
| 2006 | International Project Room, Galerie Reinhard Hauff, ARCO 2006, Madrid, Spain |
| 2005 | %, Elizabeth Dee Gallery, New York, USA (catalogue) |
| The Bulletin Board, White Columns, New York, USA | |
| 2004 | IG-Metall und die Künstlichen Paradiese des Politischen, Galerie Reinhard Hauff, Stuttgart (catalogue) |
| 2003 | Lustgarten, Borgmann Nathusius Galerie, Cologne, Germany |
| 2001 | Shine - oder Jedem das Seine, Galerie Reinhard Hauff, Stuttgart, Germany |
Selected Group Exhibitions
| 2018 | Contemporary Magic: A Tarot Deck Art Project, Art Capsul, New York, USA |
| Dime-Store Alchemy, FLAG Art Foundation, New York, USA | |
| Haute Couture Sculpture, Art Capsul, New York, USA | |
| Shadowed Forms , Andersens, Amaliegade, Copenhagen | |
| 2017–18 | Faithless Pictures, National Gallery, Oslo |
| Body, Galerie Reinhard Hauff, Stuttgart | |
| Publishing as an Artistic Toolbox, Kunsthalle Wien, Vienna | |
| An Incomplete History of Protest, Whitney Museum of American Art, New York, USA | |
NGV Triennial, National Gallery of Victoria, Melbourne, Australia | |
| 2017 | SUR/FACE: Mirrors, Museum Angewandte Kunst, Frankfurt, Germany |
| 99 Cents or Less, MOCAD, Detroit, USA | |
| Mementos: Artists’ Souvenirs, Artefacts, and other Curiosities, Art Brussels Tour & Taxis, Belgium | |
| 2016–17 | No Man’s Land: Women Artists from the Rubell Family Collection, National Museum of Women in the Arts, Washington, D.C., USA |
| 2016 | History of Nothing, curated by Hannah Gruy, White Cube, London, UK |
| 9999, The Fireplace Project, New York, USA | |
| Viehof Collection: International Contemporary Art, Diechtorhallen Museum, Hamburg, Germany (catalogue) | |
| 2015–16 | No Man’s Land: Women Artists from the Rubell Family Collection, Rubell Family Collection, Miami, USA |
| 2015 | Storylines, Solomon F. Guggenheim Museum, New York, USA |
| Zabludowicz Collection: 20 Years, Zabludowicz Collection, London, UK | |
| I don’t care, Galerie Reinhard Hauff, Stuttgart, Germany | |
| America Is Hard to See, Whitney Museum of American Art, New York, USA | |
| 2014 | Mark Boulos and Josephine Meckseper, The Rose Art Museum at Brandeis University, Waltham, USA |
| Between Critique and Absorption, Haggerty Museum of Art Marquette University, Milwaukee, USA | |
| A World of Its Own: Photographic Practices in the Studio, Museum of Modern Art, New York, USA | |
| BASH an exhibition in two parts, Woodstock Byrdcliffe Guild, Woodstock, NY, USA | |
| The Brancusi Effect, Kunsthalle Wien, Vienna, Austria | |
| Pop Departures, Seattle Art Museum, Seattle, USA | |
| Taipei Biennial 2014: The Great Acceleration, Taipei, Taiwan | |
| DISPLAY, The Contemporary Art Galleries, University of Connecticut, Storrs, USA | |
| Silver Pockets Full, The Fireplace Project, East Hampton, USA | |
| B / W, Timothy Taylor Gallery, London, UK | |
| Mark Boulos and Josephine Meckseper, The Rose Art Museum at Brandeis University, Waltham, USA | |
| 2013 | The Rose Art Museum at Brandeis University, Waltham, USA |
| 2Q13 – Women Artists, Women Collectors, Curated by Marcelle Joseph and Lydia Cowpertwait, Lloyds Club, London, UK | |
| FLAG’s Five Year Anniversary Celebration, FLAG Art Foundation, New York, USA | |
| REVERSE ENGINEERING, curated by Bill Powers, The Fireplace Project, East Hampton, New York, USA | |
| The Spook Rock Road, Galerie Frank Elbaz, Paris, France | |
| Secrets of Sunset Beach, Timothy Taylor Gallery, London, UK | |
| Cultural Freedom in Europe, Goethe Institute, Brussels, Belgium | |
| Living With More Art, Korrigierte Version, Galerie Reinhard Hauff, Stuttgart, Germany | |
| Angel of History, Palais des Beaux-Arts, Paris, France | |
| 2012 | Now’s the Time: Recent Acquisitions, curated by Lauren Hinkson and Carmen Hermo, Solomon F. Guggenheim Museum, New York, USA |
| Newly Renovated Contemporary Wing, Baltimore Museum of Art, Baltimore, USA | |
| The Simple Life, Curated by Valérie Knoll and Bettina von Dziembowski, Kunstverein Springhornhof, Neuenkirchen, Germany | |
| est. 2002: 10th Anniversary Summer Exhibition, Elizabeth Dee Gallery, New York, USA | |
| Parque Industrial, Galeria Luisa Strina, São Paulo, Brazil | |
| Living With Art, Galerie Reinhard Hauff, Stuttgart, Germany | |
| Singular Visions, Whitney Museum of American Art, New York, USA | |
| Cultural Production, Andrea Rosen Gallery, New York, USA | |
| Évasion, Lanchester Gallery, Coventry, UK | |
| Kunst-Stoff, Städtische Galerie, Karlsruhe, Germany | |
| 2011 | Gestamtkunstwerk: New Art from Germany, Saatchi Gallery, London, UK (catalogue) |
| NY: New Perspectives, Brandnew Gallery, Milan, Italy (catalogue) | |
| Geschmack: der gute, der schlechte und der wirklich teure, Kunsthalle Baden-Baden, Germany (catalogue) | |
| Praxis, Elizabeth Dee Gallery, New York, USA | |
| A Portrait of the Artist as a Young Man, Galerie Reinhard Hauff, Stuttgart, Germany | |
| Museum, Sharjah, United Arab Emirates (catalogue) | |
| Cover Girl, Galerie des Galeries, Paris, France (catalogue) | |
| Glamourama, Curated by Milly Thompson, Lanchester Gallery, Coventry, UK | |
| 2010 | Contemporary Magic, Curated by Stacy Engman, National Arts Club, New York, USA |
| The Right to Protest, Museum on the Seam, Jerusalem, Israel | |
| The Exquisite Corpse Project, Curated by David Salle Gasser & Grunert Gallery, New York, USA (catalogue) | |
| Going International, FLAG Art Foundation, New York, USA | |
| Man könnte es die Elastizität des Raumes nennen, The Forgotten Bar / Galerie im Regierungsviertel, Berlin, Germany | |
| Peter Saville: Accessories to an Artwork, Glenn Horowitz Bookseller, East Hampton, New York, USA | |
| Shut Your Eyes in Order to See, Galerie Praz-Delavallade, Paris, France | |
| Superfemmes, Rathausgalerie Kunsthalle, Munich, Germany | |
| You’re Scripted, Gabriele Senn Galerie, Vienna, Austria (catalogue) | |
| CONTACT Toronto Photography Festival, Museum of Contemporary Canadian Art, Toronto, Canada (catalogue) | |
| Changing the World, ARNDT, Berlin, Germany | |
| Der Freie Wille ist Eine Illusion, Curated by Claudia Seidel, Forgotten Bar Project, Berlin, Germany | |
| Whitney Biennial, Curated by Francesco Bonami and Gary Carrion-Muriyari Whitney Museum of American Art, New York, USA (catalogue) | |
| My Brother, My Killer, Freymond-Guth & Co. Fine Arts, Zurich, Switzerland | |
| The Library of Babel/In and Out of Place, 176 / Zabludowicz Collection, London, UK | |
| Contemplating the Void, Solomon R. Guggenheim Museum, New York, USA | |
| HomeLess Home, The Museum on the Seam, Jerusalem, Israel | |
| 2009 | Zeigen. An Audio Tour Through Berlin, Temporäre Kunsthalle |
| Berlin, Germany (catalogue) | |
| Dance in My Experience, Kunstverein für die Rheinlande und Westfalen, Düsseldorf, Germany | |
| 1989. Spione. Mauer. Kinderheim – An Der Brücke Zwischen den Welten, Villa Schöningen, Potsdam, Germany | |
| Morality: Beautiful from Every Point of View, Witte de With, Rotterdam, The Netherlands (catalogue) | |
| 1989. End of History or Beginning of the Future? Comments on a Paradigm Shift, Curated by Gerald Matt, Kunsthalle Wien, Vienna, Austria (catalogue) | |
| Infinitesimal Eternity—Images Made in the Face of Spectacle, Yale University School of Art Gallery, New Haven, USA (catalogue) | |
| Learn to Read Art: A History of Printed Matter, Badischer Kunstverein, Karlsruhe; traveling to MoMA P.S.1 Contemporary Art Center, Curated by AA Bronson | |
| No Soul for Sale: A Festival of Independents, Galerie im Regierungsviertel/ Forgotten Bar Project Berlin at X Initiative, New York, USA | |
| Extended. Sammlung Landesbank Baden-Württemberg, ZKM / Museum für Neue Kunst, Karlsruhe, Germany (catalogue) | |
| FAX, The Drawing Center, New York, USA; traveling to Contemporary Museum, Baltimore, Maryland; Plug In ICA, Winnipeg, Canada; Para/Site Art Space, Hong Kong; Torrance Art Museum, Torrance, California; Burnaby Art Gallery, Burnaby, Canada; Dowd Gallery, State University of New York, College at Cortland, New York, USA (catalogue) | |
| Bildschön. Schönheitskult in der aktuellen Kunst, Städtische Galerie, Karlsruhe, Germany (catalogue) | |
| MAN SON 1969. Vom Schrecken der Situation, Hamburger Kunsthalle, Hamburg, Germany | |
| Living Together, Curated by Xabier Arakistain and Emma Dexter, Centro Cultural Montehermoso Kulturunea, Vitoria Álava, Spain (catalogue); traveling to Museo de Arte Contemporáneo de Vigo, Spain | |
| 2008 | Prospect.1, Curated by Dan Cameron, New Orleans, USA (catalogue) |
| Shrink-Wrapped, Belkin Satellite Gallery, University of British Columbia, Vancouver, Canada | |
| Strange Connections: Art und Fashion, Curated by Stephanie Moisdon and Susanne Pfeffer, KUNST + PROJEKTE, Sindelfingen, Germany | |
| Constellations, Artissima, Turin, Italy | |
| Alternating Beats, Museum of Art - Rhode Island School of Design, Providence, USA | |
| Asking we Walk, Voices of Resistance, Den Frie Udstillingsbygning, Copenhagen, Denmark | |
| Business As Usual, Museum of Contemporary Art Detroit, Detroit, USA | |
| That Was Then... This is Now, MoMA P.S.1 Contemporary Art Center, New York, USA | |
| Zidovi na ulici | Walls in the Street, Siemens Arts Program, MSUB, Museum of Contemporary Art, Belgrade, Serbia (catalogue) | |
| Common Affairs: Steirischer Herbst, Landesmuseum Joanneum, Graz, Austria (catalogue) | |
| Vertrautes Terrain - Aktuelle Positionen in / über Deutschland, ZKM / Museum für Neue Kunst, Karlsruhe, Germany (catalogue) | |
| Sculpture Is..., Arndt & Partner, Berlin, Germany | |
| 2007 | Fit to Print: Printed Media in Recent Collage, Gagosian Gallery, New York, USA |
| Bare Life, The Museum on the Seam, Jerusalem, Israel (catalogue) | |
| Nouvelles Acquisitions/Volet 1, Curated by Doryun Chong and Yasmil Raymond, FRAC | |
| Nord – Pas de Calais, Dunkerque, France | |
| Brave New Worlds, Walker Art Center, Minneapolis, USA (catalogue) | |
| From 60 to 7, Curated by Frank Lubbers Henie Onstad Kunstsenter, Hovikodden, Norway | |
| An Atlas of Events, Calouste Gulbenkian Foundation, Lisbon, Portugal (catalogue) | |
| Shadows in Paradise, FRAC Nord - Pas de Calais, Dunkerque, France | |
| When We Build Let Us Think That We Build Forever, Curated by Jérôme Sans, The Zabludowicz Collection, Baltic Centre for Contemporary Art, Gateshead, UK | |
| New York: States of Mind, Curated by Shaheen Merali, Haus der K Sulturen der Welt, Berlin, Germany; traveling to The Queens Museum of Art, New York, USA (catalogue) | |
| Resistance Is, Whitney Museum of American Art, New York, USA, Curated by Christina Kukielski | |
| Rendición Extraordinaria/Extraordinary Rendition, Nogueras Blanchard, Barcelona, Spain | |
| Second Moscow Biennale of Contemporary Art: Footnotes about Geopolitics, Market, and Amnesia, Curated by Joseph Backstein, Daniel Birnbaum, Nicolas Bourriaud, Fuliya Erdemchi, Gunnar B. Kvaran, Rosa Martinez and Hans Ulrich Obrist Moscow, Russia (catalogue) | |
| Just Kick It Till It Breaks, Curated by Debra Singer and Matthew Lyons The Kitchen, New York, USA (catalogue) | |
| 2006 | Media Burn, Curated by Emma Dexter, Tate Modern, London, UK |
| Josephine Meckseper, Eric Baudelaire, Adrian Piper, Wayne Gonzales, Elizabeth Dee Gallery, New York, USA | |
| The Unhomely: Phantom Scenes in Global Society, 2nd International Biennial of Contemporary Art of Seville, Curated by Okwui Enwezor, Seville, Spain (catalogue) | |
| The Searchers, Curated by Molly Dilworth and Amoreen Armetta EFA Gallery, New York, USA (catalogue) | |
| USA Today, Works from the Saatchi Collection, Royal Academy of Arts, London, UK; traveling to The State Hermitage Museum, St. Petersburg, Russia | |
| Video America, Curated by Neville Wakefield,The Hospital Gallery, London, UK | |
| Big City Lab, curated by Friederike Nymphius, Art Forum Berlin, Germany (catalogue) | |
| Two Friends and So On, Andrew Kreps Gallery, New York, USA | |
| Trial Balloons, Curated by Yuko Hasegawa, Agustin Perez Rubio and Octavio Zaya, Museo de Arte Contemporaneo de Castilla y Leon, MUSAC, Leon, Spain (catalogue) | |
| This Ain’t No Fooling Around: Stephen Andrews, Marc Handelman, Josephine Meckseper, Tom Molloy, Steve Mumford, Barbara Pollack, Rubicon Gallery, Dublin, Ireland | |
| Whitney Biennial: Day for Night, Curated by Chrissie Iles and Philippe Vergne, Whitney Museum of American Art, New York, USA (catalogue) | |
| Cooling Out – On the Paradox of Feminism, Lewis Glucksman Gallery, University College, Cork, Ireland; concurrently exhibited at Halle für Kunst, Lueneburg, Germany; Kunsthaus Baselland, Muttenz/Basel, Switzerland (catalogue) | |
| 2005 | Experiencing Duration, Biennale d’art contemporain de Lyon 2005, Curated by Nicolas Bourriaud and Jérôme Sans, Lyon, France, (catalogue) |
| Schwarz Brot Gold - Die Neue Republik, Oldenburger Kunstverein, Oldenburg, Germany | |
| Girls on Film, Zwirner & Wirth, New York, USA | |
| Bonds of Love, Curated by Lisa Kirk, John Connelly Presents, New York, USA (catalogue) | |
| A.B.Normal, NYEHAUS, New York, USA, (catalogue) | |
| 2004 | twinkle, twinkle, Galerie Reinhard Hauff, Stuttgart, Germany |
| Heimweh: Young German Art, Curated by Juliane von Herz, Haunch of Venison, London, UK (catalogue) | |
| The Future Has a Silver Lining: Genealogies of Glamour, Curated by Heike Munder and Tom Holert, Migros Museum für Gegenwartskunst, Zurich, Switzland (catalogue) | |
| Dresscode, Kunstverein Neuhausen, Neuhausen/Fildern, Germany | |
| American Idyll, Greene Naftali, New York, USA | |
| 2003 | Fuckin’ Trendy, Curated by Ellen Seifermann, Kunsthalle Nuremberg, Nuremberg, Germany (catalogue) |
| All That Glitters, Islip Art Museum, East Islip, New York, USA | |
| In the Public Domain, Greene Naftali, New York, USA Nation, Frankfurter Kunstvere in, Frankfurt, Germany | |
| Josephine Meckseper, Christoph Steinmeyer, Bernard Kahrmann, Elizabeth Dee Gallery, New York, USA | |
| 2002 | Bitch School, The Bronx Council on the Arts, Longwood Arts Project, New York, USA |
| Good Vibrations: Philip Argent, Marcy Freedman, Heribert Freidl, Josephine Meckseper, Galerie Jette Rudolph, Berlin, Germany | |
| 2001 | Wine, Women & Wheels, White Columns, New York, USA |
| 2000 | New New York, Curated by Alejandro Diaz, Texas Fine Arts Association, The Jones Center for Contemporary Art, Austin, Texas, USA (catalogue) |
| Grok Terence McKenna Dead, Feature Inc., New York, USA | |
| Flea Market, Gavin Brown’s Enterprise, New York, USA | |
| Wunderbar, Art Club Berlin at W139 Gallery, Amsterdam, The Netherlands | |
| 1999 | Criss Cross: Some Young New Yorkers III, MoMA P.S.1 Contemporary Art Center, New York, USA |
| Free Coke: Lines, Drawing and Paper, Greene Naftali, New York, USA | |
| Lifer, Curated by Kenny Schachter, Cardozo School of Law Gallery, New York, USA | |
| 1998 | Super Freaks: Post Pop and the New Generation. Part 1: Trash, Greene Naftali, New York, USA |
| Selective Affinities, Wahlverwandtschaften, New York Security Ministorage, New York, USA | |
| Art Club Berlin, Curated by Klara Wallner, Art Forum, Berlin; travelling to Au Base, New York, USA and Artistsspace W139, Amsterdam, The Netherlands | |
| 1996 | Mixing Messages: Graphic Design in Contemporary Culture, Curated by Ellen Lupton, Cooper-Hewitt, National Design Museum, New York, USA |
| Departure Lounge, MoMA P.S.1 Contemporary Art Center, Clocktower Gallery, New York, USA | |
| Summer Show, Greene Naftali, New York, USA | |
| Intervention: Tendenzen im Schatten der Stadtplanung (catalogue), Stiftung Starke, Berlin, Germany | |
| 1995 | Wheel of Fortune, Lombard-Fried Fine Arts, New York, USA |
| Benefit Exhibition, American Fine Arts, New York, USA | |
| Alter Image, 450 Broadway Gallery, New York, USA | |
| On the Lamb, Thicket Gallery, New York, USA | |
| Geiselnahme, The Puck Building, New York, USA (performance); Zum Goldenen Hirschen, Hamburg, Germany (exhibition) | |
| Verisimilitude and the Utility of Doubt, Curated by Bill Arning and Gregory Crewdson, White Columns, New York, USA | |
| 1994 | This Is Your Home, Curated by Ania Corcilius, Stuyvesant Town, New York, USA |
| Agent Artist, MoMA P.S.1 Contemporary Art Center, New York, USA | |
| USA Paranoid, Curated by Sam Durant, M*Y*T*H Series, The Brewery Gallery, Los Angeles, USA | |
| 1992 | Tattoo Collection, Andrea Rosen Gallery, New York, USA; Galerie DanielBuchholz, Cologne, Germany; Jennifer Flay Gallery, Paris, France, organized by Air de Paris, Nice and Urbi et Orbi, Paris, France |
| 1990 | Licht und Schein, KUBUS, Kunstverein Hannover Land, Hannover, Germany |
| 1989 | Licht und Schein, KUBUS, Kunstverein Hannover Land, Hannover, Germany Neue Darmstädter Sezession, Darmstadt, Germany Grillen, Ohlauer Strasse, Berlin, Germany |
Selected Film Festivals and Screenings
| Pellea[s], The Whitney Museum of American Art | |
| 2018 | Propaganda on Film, National Gallery of Victoria, Melbourne |
| 2011 | Landmarks Video, University of Texas at Austin, Austin, USA |
| 2009 | Hot or Cold, Haus der Kulturen der Welt, Berlin, Germany |
| Migrating Forms Film Festival, New York, USA |
Selected Lectures and Symposia
| 2017 | Triennial Talk, National Gallery of Victoria, Melbourne |
| 2016 | Visiting Artist Lecture, Yale School of Art, New Haven, CT, USA |
The Artist Project, Metropolitan Museum of Art, New York,USA | |
| Young Collectors Council, Solomon R. Guggenheim Museum, New York, USA | |
| 2014 | Shame, Guilt & Prejudice: Emerging Possibilities, 42nd Annual NAAP Conference, Scholastic Center, New York, USA |
| Pop Art: Thomas Crow, Milton Glaser, Catharina Manchanda, Josephine Meckseper, Gary Panter: An Art Book Series Event, New York Public Library, New York, USA | |
| SAM Talks: Josephine Meckseper, Seattle Art Museum, Seattle, USA | |
| Collaborations: Artists and Architects Sharing Space, Friends Seminary Auction 2014, Phillips, New York, USA | |
| 2012 | Subjective Histories of Sculpture: Josephine Meckseper, Sculpture Center, New York, USA |
| Visiting Artist Lecture, Yale School of Art, New Haven, CT, USA | |
| 2011 | Josephine Meckseper on Hanne Darboven, Artists on Artists Lecture Series, Dia Art Foundation, New York, USA |
| 2010 | Migrating Forms Film Festival, New York, USA |
| The Type, Andrea Rosen Gallery, New York, USA | |
| Whitney Contemporaries Gallery Talk with Gary Carrion-Muriyari, Elizabeth Dee Gallery, New York, USA | |
| Contemporary Photography Forum, Museum of Modern Art, New York, USA | |
| Young Collectors Council, Guggenheim Museum, New York, USA | |
| 2009 | Indianapolis Museum of Art, Indianapolis, Indiana, USA |
| University of Houston, Houston, Texas, USA | |
| Nottingham Contemporary, Nottingham, UK | |
| How Can Art be Political in a Free Market System?, Rotterdam Dialogues: The Artists, Witte de With Center for Contemporary Art, Rotterdam, The Netherlands | |
| 2008 | Fundación/Colección Jumex, Mexico City, Mexico |
| 2007 | Art Center College of Design, Pasadena, California, USA |
Selected Public and Private Collections
| Baltimore Museum of Art, Baltimore, USA |
| Brooklyn Museum, New York, USA |
| FRAC Nord - Pas de Calais, Dunkerque, France |
| Hammer Museum, UCLA, Los Angeles, USA |
| Kunsthalle Bremen, Germany |
| Kunstmuseum Stuttgart, Stuttgart, Germany |
| Metropolitan Museum of Art, New York, USA |
| Migros museum für gegenwartskunst, Zürich, Switzerland |
| Museum of Modern Art, New York, USA |
| Museum on the Seam, Jerusalem, Israel |
| National Gallery of Victoria, Melbourne, Australia |
| Pérez Art Museum, Miami, USA |
| Solomon R. Guggenheim Museum, New York, USA |
| Viehof Collection, Deichtorhallen Hamburg, Germany |
| Whitney Museum of American Art, New York, USA |
Selected Publications
| 2017 | Voorhies, James, Beyond Objecthood: The Exhibition as a Critical Form since 1968, Cambridge, MA: MIT Press |
| 2016 | Ammirati, Domenick and Piper Marshall, Josephine Mecksper: 10 minutes after, London: Timothy Taylor / Berlin: Sternberg Press |
| Allen, Gwen, The Magazine: Documents of Contemporary Art, London: Whitechapel Gallery | |
| Frey, James, Josephine Meckseper, Paris: Gagosian Gallery | |
| Hoban, Stephen, and Kelly Kivland, with Katherine Atkins. Artists on Hanne Darboven, Contributions by Gregg Bordowitz, Sam Lewitt, Josephine Meckseper, and Matt Mullican. New York: Dia Art Foundation | |
Lucklow, Dirk, and Snoeck Verlag, ed., Viehof Collection: International Contemporary Art, Koln: Snoeck Verlag | |
| 2015 | NO MAN’S LAND: Women Artists from the Rubell Family Collection, Miami, FL: Rubell Family Collection |
| Behnke, Christoph, and Cornelia Kaastelan, Valerie Knoll, Ulf Wuggenig ed., The Simple Life. Art in the Periphery of the Center, Berlin: Sternberg | |
| Venero, Isabel, and Amy Ontiveros eds., 25 Years Of Andrea Rosen Gallery, New York, NY: Andrea Rosen Gallery | |
| 2014 | Manchanda, Catharina, Pop Departures, New Haven: Yale University Press, pp. 26-29, 56-57, 84-85 |
| Bourriaud, Nicolas, et al., l’ange de l’histoire, Paris: Beaux-Arts de Paris Éditions | |
| 2013 | Davis, Ben, 9.5 Thesis on Art and Class, Chicago: Haymarket Books, pp. 164, 212 |
| Luyckx, Filip, Cultural Freedom in Europe, Brussels: Goethe-Institute | |
| Matt, Gerald A., Artists Talks, Nürnberg: Verlag für Moderne Kunst | |
| Welchman, John C., ed. Sculpture and the Vitrine. Surrey: Ashgate Publising, Leeds: Henry Moore Institute | |
| 2012 | Lee, Pamela M. Forgetting the Art World. Cambridge: The MIT Press. |
| Sakamoto, Carla. FOR WHICH IT STANDS: Americana in Contemporary Art. New York: Farameh | |
| 2011 | Chauveau, Bernard (editor), Cover Girl, Paris: Galerie des Galeries |
| Engman, Stacy, Contemporary Magic: A Tarot Deck Art Project, New York: KLÜP Foundation, p.54 | |
| On View, Worldwide, for the Month Of.... New York: Kunstverein | |
| Rancière, Jacques, A felszabadult nezo, Budapest : Mucsarnok - Kunsthalle, p. 22 | |
| Saadawi, Ghalya (editor), Sharjah Biennial 10: Plot for a Biennial,. Sharjah: Sharjah Art Foundation, pp. 437-442 | |
| 2010 | Bonami, Francesco and Gary Carrion-Muriyari (editors), Whitney Biennial, New Haven: Yale University Press, pp. 84-85 |
| Etgar, Raphie, The Right to Protest, Jerusalem: Museum on the Seam | |
| Gray, Zoë, Miriam Kathrein, Nicolaus Schafhausen, Monika Szewczyk, Ariadne Urlus (editors), Rotterdam Dialogues: The Critics, The Curators, The Artists. Rotterdam: Post Editions and Witte de With, Center for Contemporary Art, pp. 216, 238, 265 | |
| Lulic, Marko, art & film, Nürnberg: Verlag für moderne Kunst, pp. 90-95 | |
| Pervasive Influence, CONTACT Photography Festival, Museum of Contemporary Art Toronto | |
| Baden-Württemberg, Sammlung Landesbank, Extended, ZKM / Museum für Neue Kunst Karlsruhe | |
| Bildschön. Schönheitskult in der aktuellen Kunst, Städtische Karlsruhe: Städtische Galerie | |
| Singer, Debra, Creamier: Contemporary Art in Culture: 10 Curators, 100 Contemporary Artists, 10 Sources. London: Phaidon | |
| 2009 | Dailey, Meghan, and Mark Holborn, Shape of Things to Come: New Sculpture. New York: Rizzoli, pp.490-511 |
| Dexter, Emma, 60: Innovators Shaping Our Creative Future, edited by Lucas Dietrich. London: Thames and Hudson, pp. 314-319 | |
| George Rush (editor), Infinitesimal Eternity—Images Made in the Face of Spectacle, New Haven: Yale University School of Art Gallery | |
| Hooper, Rachel, Sylvère Lotringer and Heike Munder, Josephine Meckseper, Zurich: JRP|Ringier | |
| Jansen, Gregor and Thomas Thiel (editors), Vertrautes Terrain - Aktuelle Positionen in & über Deutschland,) Heidelberg: Kehrer Verlag; pp. 278 | |
| Lotringer, Sylvère, Vitamin 3-D: New Perspectives in Sculpture and Installation. London: Phaidon Press, pp. 194-197 | |
| Matt, Gerald, Cathérine Hug and Thomas Mießgang (editors), 1989. Ende der Geschicte oder Beginn der Zukunft, Kunsthalle Wien and Villa Schöningen, Nuernberg: Verlag für moderne Kunst Nürnberg | |
| Müller, Vanessa Joan (editor), Béton Brut, Dance in My Experience, Kunstverein für die Rheinlande und Westfalen, Schwarzach am Main: Benedict Press, pp. 11-13, 59. | |
| Neil, Jonathan T.D. (editor), FAX, The Drawing Center, New York: The Drawing Center/Independent Curators International | |
| Rancière, Jacques, Der Emanzipierte Zuschauer, trans. Richard Steurer. Vienna: Passagen Verlag, p. 37 (ill.) | |
| Roth, Andrew and Phil Aarons (editors), In Numbers: Serial Publications by Artists Since 1955, New York: PPP Editions; pp. 51-52, 160-164 | |
| Witte de With Center for Contemporary Art, Morality, Rotterdam: Witte de With Center for Contemporary Art | |
| Zeigen, An Audio Tour Through Berlin, Berlin: Temporäre Kunsthalle | |
| 2008 | Andelkovic, Branislava, Marko Lulic and Thomas Trummer, Zidovina ulici | Walls in the Street, Berlin: Revolver, pp. 70-75, 194 |
| Bloemink, Barbara, Prospect.1 New Orleans, Brooklyn: Picturebox, pp. 238 – 241 | |
| Hoff, James (editor), Top Ten: 1998-2008, New York: No Input Books, p.304 | |
| Holzwarth, Hans Werner (editor), Art Now Vol. 3, Cologne: Taschen, pp. 308-311 | |
| Lotringer, Sylvère, Gabriele Mackert and Mona Schieren, Quelle International. Josephine Meckseper, Bremen: GAK | |
| Rancière, Jacques, Le spectateur émancipé, Paris: La Fabrique editions | |
| Schaschl, Sabine, Bettina Steinbrügge, René Zechlin (editors), Cooling Out - On the Paradox of Feminism, Zürich: JRP|Ringier, cover and pp.136-137 | |
| Reinhard Braun (editor), Common Affairs, Graz: Edition Camera Austria, pp. 95-103, 126 | |
| Tresaco, Boyer, Best New York Art 2008, New York: Theredoom, pp. 18-19 | |
| Weibel, Peter, Vertrautes Terrain - Aktuelle Positionen in & über Deutschland, Karlsruhe: ZKM / Museum für Neue Kunst, pp. 49, 226 | |
| 2007 | Baudrillard, Jean, and Sylvère Lotringer (introduction), Forget Foucault. Los Angeles: Semiotext(e), 2nd Revised Edition, cover ill. |
| Bourriaud (exhibition catalogue), Nicholas, et. al., Second Moscow Biennale of Contemporary Art: Footnotes about Geopolitics, Market, and Amnesia. Moscow: Artchronika, pp. 102-103. | |
| Brand, Roy (editor), Bare Life, Museum on the Seam, Jerusalem (exhibition catalogue), pp. 81-78. | |
| Enwezor, Okwui, Christian Hoeller and Marion Ackermann (editor), Josephine Meckseper. Ostfildern: Hatje Cantz Verlag. | |
| Hooper (exhibition catalogue), Rachel, “Satire and a Cynical Smile: Josephine Meckseper,” Brave New Worlds, Walker Art Center, Minneapolis, edited by Doryun Chung and Yasmil Raymond, pp. 144-149 | |
| Merali, Shaheen (editor), New York – States of Mind. Art in the City (exhibition catalogue), London: Saqi, pp. 116-119. | |
| Ribeiro, Antonio Pinto, An Atlas of Events (exhibition catalogue). Calouste Gulbenkian Foundation, pp. 50-51. | |
| Singer, Debra and Matthew Lyons, Just Kick It Till It Breaks (exhibition catalogue), The Kitchen, New York. New York: The Kitchen | |
| 2006 | Big City Lab (exhibition catalogue), Art Forum Berlin. Berlin: Messe Berlin GmbH. |
| Dailey, Meghan, Patricia Ellis and Norman Rosenthal, USA Today: New American Art from The Saatchi Gallery (exhibition catalogue). London: Royal Academy of Arts, cover and pp. 248-263. | |
| Day For Night, Whitney Biennial 2006, Whitney Museum of American Art, New York (exhibition catalogue). New York: Henry N. Abrams, Inc. | |
| Enwezor, Okwui (editor), The Unhomely: Phantom Scenes in Global Society (catalogue), 2nd International Biennial of Contemporary Art of Seville. Seville: Fundación BIACS. | |
| Lotringer, Sylvère, The Josephine Meckseper Catalogue No. 2 (exhibition catalogue), New York and Berlin: Sternberg Press. | |
| Schmidt, Jason, Artists, Paris: Edition 7L., p. 14. | |
| The Searchers (exhibition catalogue), EFA Gallery. New York: EFA Gallery. | |
| Trial Balloons (exhibition catalogue), Museo de Arte Contemporaneo de Castilla y Leon, MUSAC, Leon. | |
| 2005 | A.B.Normal (exhibition catalogue), NYEHAUS, New York. New York: NYEHAUS |
| Bonds of Love (exhibition catalogue), John Connelly Presents, New York. Canada: PAZAZZ. | |
| Expérience de la durée (exhibition catalogue), Biennale d’art contemporain de Lyon. Paris: Paris Musées. | |
| The Future Has a Silver Lining: Genealogies of Glamour (exhibition catalogue), Migros Museum für Gegenwartskunst, Zurich. Zurich: JRP-Ringier | |
| 2004 | Gandhi, Arun, et al., 2/15: The Day the World Said No to War. New York: Hello NYC; Oakland and Edinburgh: AK Press. |
| Heimweh: Young German Art, Haunch of Venison, London (catalogue). | |
| Kelsey, John and Andrew Ross, The Josephine Meckseper Catalogue (catalogue). New York: Lukas & Sternberg. | |
| 2003 | Fuckin’ Trendy (exhibition catalogue), Kunsthalle Nuremburg. Nuermberg: Kunsthalle Nuremburg |
| 2000 | New New York (exhibition catalogue), The Jones Center for Contemporary Art, Austin. Austin: Texas Fine Arts Association. |
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