Martin Kersels Biography

Born in 1960, Los Angeles (California, USA)
Lives and works in Yale, New Haven (Connecticut, USA)

Solo exhibitions

2014
  • Olympus, Galerie GP & N Vallois, Paris, France
2012
  • Charms and Devotionals, Elizabeth Leach Gallery, Portland, USA
2011
  • Passionista, ACME., Los Angeles, USA
  • Charms, Stacks & Flotsam, Mitchell-Innes & Nash Gallery, New York, USA
  • X (collaborative project with choreographer Melinda Ring), St. Mark’s Church, New York, USA
2010
  • Five Songs, Galerie GP & N Vallois, Paris, France
  • Tumble Room, Tinguely Museum, Basel, Switzerland
2009
  • Fat Iggy: Discography, (Project Room), Galerie GP & N Vallois, Paris, France
  • Fat Iggy, Guido Costa Projects, Turin, Italy
  • Jason Martin wants to be a punk rocker, (in collaboration with Jason Kraus), Renwick Gallery, New York, USA
2008
  • Martin Kersels: Heavyweight Champion, curator: Ian Berry, Santa Monica Museum of Art, Los Angeles, USA*
  • Headache and Other New Works, ACME Gallery, Los Angeles, USA
2007
  • Martin Kersels: Heavyweight Champion, The Frances Young Tang Teaching Museum, Saratoga Springs, USA*
2006
  • Tumble Room, Deitch Projects, Art Unlimited, Art 37 Basel, Basel, Switzerland*
  • Charms in a Throne Room, ACME Gallery, Los Angeles, USA
2005
  • Orchestra for Idiots, Galerie GP & N Vallois, Paris, France
2004
  • Illuminous, Guido Costa Project, Turin, Italy
2003
  • Wishing Well, ACME Gallery, Los Angeles, USA
2002
  • Fat Man, Galerie GP & N Vallois, Paris, France
  • Bracelet, Peggy Phelps Gallery, Claremont Graduate University, USA
  • Showette, ACME. Gallery, Los Angeles, USA
2001
  • Tumble Room, Deitch Projects, New York, USA
  • Taste Gallery, Geneva, Switzerland Modern Art, London, UK
  • A Girl’s Room, Galerie Edward Mitterrand, Geneva, Switzerland ACME. Gallery, Los Angeles, USA
2000
  • Martin Kersels, Kunsthalle, Berne, Switzerland
1999
  • Spinning, Galerie GP & N Vallois, Paris, France
  • Brake Squeal, Bird Flap, Boing Box Whirling Photos and other new works, Dan Bernier Gallery, Los Angeles, USA
1998
  • Loud House, Dan Bernier Gallery, Santa Monica, USA
  • Theoretical Events (Th.e), Naples, Italy
  • Commotion: Martin Kersels, Yerba Buena Center for the Arts, San Francisco, USA; Contemporary Arts Forum, Santa Barbara, USA*
1997
  • Commotion: Martin Kersels, curator: Toby Kamps, Madison Art Center, Madison, USA*
1996
  • Jay Gorney Modern Art, New York, USA
1995
  • Objects of the Dealer (with Soundtracks), Dan Bernier Gallery, Santa Monica, USA
1993
  • A/B Gallery, Los Angeles, USA
1992
  • Weight, Los Angeles Contemporary Exhibitions, Los Angeles, USA (performance)
1989
  • Measured Table, Los Angeles Contemporary Exhibitions, Los Angeles, USA (performance)
  • Kay Sir Ra Sir Ra, Kid Aileck Gallery, Tokyo, Japan (performance)
1987
  • Shape of pools Today, Wallenboyd Theater, Los Angeles, USA (performance)
1985
  • Sweaters, Backlot Theater, Los Angeles, USA (performance)

Selected group exhibitions

2013
  • La distance juste, curator: Albertine de Galbert (as part of the « Nouvelles Vagues » programmation), Galerie GP & N Vallois, Paris, France**
  • Tell me whom you haunt : Marcel Duchamp and the contemporary readymade, Blain Southern Gallery, London, GB
2012
  • Bruce Conner and the Primal Scene of Punk Rock, Museum of Contemporary Art, Denvers, USA
  • Tag, You’re it !, Royal/T, Los Angeles, USA
2011
  • Incongru, Musée Cantonal des Beaux-Arts, Lausanne, Switzerland
  • Under Destruction I-III, curators: Gianni Jetzer and Chris Sharp, Swiss Institute Contemporary Art, New York, USA *
  • Works of Paper, ACME. Gallery, Los Angeles, USA
  • X (collaborative project with choreographer Melinda Ring), St. Mark’s Church, New York, USA
2010
  • Biennale du Whitney 2010, The Whitney Museum of American Art, New York, USA*
  • Une forme pour toute action — Le Printemps de Septembre, curator: Eric Mangion, Toulouse,France*
  • 15 Minutes of Fame: Portraits from Ansel to Andy Warhol, Orange County Museum of Art, Newport Beach, USA
  • Under Destruction, Tinguely Museum, Basel, Switzerland
  • Bas Jan Ader: Suspended Between Laughter and Tears, curator: Pilar Tompkins Rivas, Pitzer Art Galleries, Pitzer College, Claremont, USA
2009
  • Feldstarke International, Cent Quatre, Paris, France ; Essen, Allemagne ; CalArts, Los Angeles, USA
  • Seriously Funny, Scottsdale Museum of Contemporary Art, Scottsdale, USA
  • Second Nature: The Valentine Collection at the Hammer, UCLA Hammer Museum, Los Angeles, USA
2008
  • Ne pas jouer avec des choses mortes, Villa Arson, Nice, France*
  • Disorderly Conduct: Recent Art in Tumultuous Times, Orange County Museum of Art, Newport Beach, USA
  • California Video, curator: Glenn Phillips, The Getty Center, Los Angeles, USA
  • Comfort Zones, Bury St. Edmunds Art Gallery, Bury St. Edmunds, UK ; Tullie House Museum and Art Gallery, Carlisle, UK
  • Index: Conceptualism in California from the Permanent Collection, Museum of Contemporary Art, Los Angeles, USA
  • Undone, Renwick Gallery, New York, USA
2007
  • Oeuvres Encombrantes, Galerie GP & N Vallois, Paris, France
  • Sculptors’ Drawings: Ideas, Studies, Sketches, Proposals, and More, Angles Gallery, Santa Monica, USA
  • Comfort Zones, Oriel Davies Gallery, Newton, Powys, Wales, and University for the Creative Arts, Farnham, UK
  • Situation Comedy: Humor in Recent Art, curators: Dominic Molon and Michael Rooks, Salina Art Center, Salina, USA
  • Kraus-Kop-Kersels, Erica Redling Fine Art, Los Angeles, USA
2006
  • Accidents, Galerie GP & N Vallois, Paris, France
  • Situation Comedy: Humour in Recent Art, curators: Dominic Molon and Michael Rooks, Chicago Cultural Center, Chicago, USA ; Winnipeg Art Gallery, Canada ; Museum of Art, Fort Lauderdale, USA*
2005
  • My Own Cinema, Galerie GP & N Vallois, Paris, France
  • Situation Comedy: Humour in Recent Art, curators: Dominic Molon and Michael Rooks, The Contemporary Museum, Honolulu, USA *
  • Dionysiac, curator: Christine Macel, Centre Georges Pompidou, Paris, France*
  • Pratique de la catastrophe: Burlesques contemporains, curator: Christophe Kihm, Jeu de Paume, Paris, France*
  • L’Idiotie, Expérience Pommery #2, curators: Jean-Yves Jouannais, Domaine de Pommery, Reims, France*
  • Attention à la marche (histoires de gestes), curator: Julie Pellegrin, La Galerie, Noisy-Le-Sec, France*
  • 100 Artists See God, curators: John Baldessari & Meg Cranston, ICA, Institute of Contemporary Art, London, UK*
  • Californian artists in Greek Collections, curator: Max Henry, Athènes, Greece*
  • The Blake Byrne Collection, Museum of Contemporary Art, Los Angeles, USA
2004
  • Y a-t-il un commissaire pour sauver l’exposition ?, Galerie GP & N Vallois, Paris, France
  • Suburban House Kit, Deitch Projects, New York, USA
  • 100 Artists See God, Independant Curators International, New York, USA ; moving exposition: The Contemporary Jewish Museum, San Francisco, USA ; Laguna Art Museum, Laguna Beach, USA ; Contemporary Art Center of Virginia, Virginia Beach, USA ; Institute of Contemporary Art, Londres, UK ; Albright College, Freedman Gallery, Reading, USA ; Cheekwood Museum of Art, Nashville, USA
  • Septembre en Octobre, Astérides, Marseille, France
  • Walk Ways, curator: Stuart Horodner pour Independant Curators International, Albright College Center for the Arts, Reading, USA ; The Surrey Art Gallery, Surrey, British Columbia, Canada
  • Suburban House Kit, Deitch Projects, New York, USA
2003
  • Home, Galerie GP & N Vallois, Paris, France
  • Mouvement de fond, M.A.C (Musée d’Art Contemporain), Marseille, France
  • NEURO, An Art & Science collaboration, The California Institute of Technology & Art Center College of Design, Pasadena, USA
  • Stat.ic (International Film Festival Rotterdam 2003), Tent, Rotterdam, Netherlands
  • Yankee Remix, Artists Take on New England, curator: Laura Heon, MASS MoCA, North Adams, USA
  • ACME. Gallery @ Inman, Inman Gallery, Houston, USA
  • Walk Ways, curator: Stuart Horodner pour Independant Curators International, Western Washington University, Bellingham, USA ; Dalhousie University Art Gallery, Halifax, Canada ; Oakville Galleries in Gairloch Gardens, Oakville, Canada ; Arthouse at the Jones Center, Austin, USA ; University of South Florida, Tampa, USA
2002
  • French Collection, 49 artistes d’aujourd’hui, un choix d’acquisitions du Fond National d’art contemporain (Paris), MAMCO, Geneva, Switzerland*
  • Sudden Glory: Sight Gags and Slapstick in Contemporary Art, California College of Arts and Crafts, Logan Galleries, San Francisco, USA
  • L.A. Post Cool, curator: Michael Duncan, The San Jose Museum of Art, San Jose, USA
  • Majestic Sprawl: Some Los Angeles Photography, Pasadena Museum of California Art, Pasadena, USA
  • Walk Ways, curator: Stuart Horodner pour Independent Curators International, Portland Institute of Contemporary Art, Pasadena, USA
  • Strolling Through an Ancient Shrine and Garden, curators: Chip Tom and ACME Gallery, ACME. Gallery, Los Angeles, USA
  • Ideal Avalanche, The Pond, Chicago, USA
2001
  • Soleil d’hiver / Sur un cheval / Une silhouette gelée, Galerie GP & N Vallois, Paris, France
  • Record all-over, 9eme Biennale de l’Image, MAMCO, Geneva, Switzerland
  • Martin Kersels / Laura Owens, ACME Gallery, Los Angeles, USA
  • The Americans: New Art, curator: Mark Sladen, Barbican Art Gallery, London, UK *
  • Ever Since Icarius, Lord Mori Gallery, USA
  • The Sensational Line, Museum of Contemporary Art, Denver, USA
  • Portraits, Galerie Edward Mitterrand, Geneva, Switzerland
2000
  • Comment tuer le temps, Ecole des Beaux Arts, Quimper, France
  • Departures, 11 artists at the Getty, curator: Lisa Lyons, The J. Paul Getty Museum, Los Angeles, USA*
  • Made in California and Made in California — NOW, Los Angeles County Museum of Art, Los Angeles, USA*
  • SOS: Scenes of Sounds, curator: Charles Stainback, The Tang Teaching Museum and Art Gallery, Skidmore College, Saratoga Springs, New York, USA
  • An Active Life, curator: Sue Spaid, The Contemporary Art Center, Cincinnati, USA
  • Inventional, curator: Nowell J. Carten, Angles Gallery, Santa Monica, USA
  • Haulin’ Ass, Pierogi in L.A., POST, Los Angeles, USA
    Museum and Art Gallery, Skidmore College, Saratoga Springs, New York, USA
1999
  • EXTRAetORDINAIRE, Printemps de Cahors, commissaire : Christine Macel, Cahors, France*
  • Biennale de Melbourne, Melbourne, Australia*
  • Group Show, Brett-Mitchell Inc., Cleveland, USA
1998
  • Young American 2, Saatchi Gallery, London, UK*
  • Band Wi(d)th, Knitting Factory, New York, USA
    Group Show, W-139, Amsterdam, Netherlands
1997
  • Need for Speed W-139, Amsterdam, Netherlands
  • Cruising L.A: Paul McCarthy, Martin Kersels, Catherine Opie, Lari Pittman, Jason Rhoades, curator: Alvaro Perdices, Galeria Soledad Lorenzo, Madrid, Spain
  • Vanessa Beecroft, Jennifer Bornstein, Martin Kersels, Gillian Wearing, S.L. Simpson Gallery, Toronto, Canada
  • Frankensteinian, curator: Stuart Horodner, Caren Golden Gallery, New York, USA
  • Celluloid Cave, curator: Dara Friedman, Thread Waxing Space, New York, USA
  • COLA: 1996-1997 Individual Artists Grants, The Municipal Art Gallery, Barnsdall Park, Los Angeles, USA
  • Group Show, New Langton Arts, San Francisco, USA
  • 1997 Whitney Biennale, curators: Lisa Phillips and Louise Neri, Whitney Museum of American Art, New York, USA*
  • Ten Los Angeles Artists, Stephen Wirtz Gallery, San Francisco, USA
1996
  • Romper Room, commissaire : Danielle Chang, Thread Waxing Space, New York, USA
  • Power of Suggestion: Narrative and Notation in Contemporary Drawing, curator: Connie Butler, Museum of Contemporary Art, Los Angeles, USA
  • Hero, Common Wealth Gallery, Madison, USA
  • Defining the Nineties: Consensus — Making in New York, Miami, and Los Angeles, curator: Bonnie Clearwater,Museum of Contemporary Art, Miami, USA
  • Left of Center, Ten in One Gallery, Chicago, USA
1995
  • L.A Video Sampler II, curator: Diana Thater, David Zwirner Gallery, New York, USA
  • La Belle et la Bête: Un choix de jeunes Artistes Américains, curator: Lynn Gumpert,
    Musée d’Art Moderne de la Ville de Paris, Paris, France
  • Post Marked L.A, P.P.O.W. Gallery, New York, USA
1994
  • L.A.X. — The L.A. Biennial, curator: Ann Ayres, Otis Parsons Gallery, Los Angeles, USA
  • Hooked on a Feeling, Kohn — Turner Gallery, Los Angeles, USA

\Catalog
\
*Forthcoming catalog

Solo performances

2014
  • In Vivo, Centre Pompidou, Paris France
2010
  • Five Songs, Galerie GP & N Vallois, Paris, France
1992
  • Weight, Los Angeles Contemporary Exhibitions, Los Angeles, USA
1990
  • Measured Table, Los Angeles Contemporary Exhibitions, Los Angeles, USA
1989
  • Kay Sir Ra Sir Ra, Kid Aileck Gallery, Tokyo, Japan
  • Breath, Odyssey Theater & Powerhouse Theatre, Los Angeles, USA Pools, Kid Aileck Gallery, Tokyo, Japan
1987
  • The Shape of Pools Today, Wallenboyd Theatre, Los Angeles, USA Sweaters(part B), Backlot Theatre, Hollywood, USA
1984
  • Sweaters, UCLA Fine Arts Productions, Los Angeles, USA

Collaborative performances

2010
  • Jason Martin Wants to be a DJ (in collaboration with Jason Kraus), Whitney Museum of American Art, New York, USA
2009
  • Jason Martin Wants to be a DJ (in collaboration with Jason Kraus), Renwick Gallery, New York, USA
1983 — 1995 et 2005

Membre du SHRIMPS, groupe de performance ; travaux réalisés pour Los Angeles : Los Angeles Contemporary Exhibitions, Highways, Music Center, UCLA, Claremont Graduate University, Mayan Theatre, Santa Monica Arts Comission ; New York : The Kitchen and Serious Fun at Alice Tully Hall ; San Francisco : New Langton Arts, Yerba Buena center for the Arts, and Footworks; Chicago : Randolph Street Projects; Minneapolis : Intersection for the Arts; San Diego : Sushi ; and Baltimore : Towson State University.

Public collections

Museum of Modern Art, MoMA, New York, USA
Santa Monica Museum of Art, Santa Monica, USA
Orange County Museum of Art, Newport Beach, USA
UCLA Hammer Museum, Los Angeles, USA
The Francis Tang Teaching Museum, Saratoga Springs, USA
Schwartz Art Collection, Harvard Business School, Cambridge, USA
Museum of Contemporary Arts, San Diego, USA
MoCA, Los Angeles, USA
Los Angeles County Museum of Art, Los Angeles, USA
Museum of Contemporary Art, Miami, USA
Madison Museum of Contemporary Art, Madison, USA
Centre Georges Pompidou, Paris, France
FNAC, Paris, France
CNAP, Paris, France
MACBA, Barcelona, Spain

Grants and awards

2010
  • Dean’s Interdisciplinary Grant, California Institute of the Arts
2008
  • The John Solomon Guggenheim Fellowship
  • The Fellows of Contemporary Art Artist’s Fellowship
1999
  • Foundation for Contemporary Performance Arts Fellowship
1996
  • City of Los Angeles Cultural Affairs Department Individual Artists Grant

Selective bibliography

Books and Catalogues

2013
  • La distance juste, (texts) Albertine de Galbert, published by Galerie GP & N Vallois, Paris, p.18
2011
  • Under Destruction, (texts) Barbara Casavecchia, Boris Groys, Martin Herbert, Justin Hoffmann, Gianni Jetzer, Piper Marshall Chris Sharp, Roland Wetzel, Michael Wilson, published by Swiss Institute Contemporary Art, New York (ill.)
  • Incongru. Quand l’art fait rire, published by MCB-A, Lausanne, pp120-121 (ill.)
2010
  • 2010 Whitney Biennial, (texts) Francesco Bonami, Gary Carrion-Muryari, published by The Whitney Museum of American Art, New York (ill.)
  • Le Printemps de Septembre — à Toulouse, Une forme pour toute action, (texts) Eric Mangion,
    published by Printemps de Toulouse, Toulouse, pp. 48-49 (ill.)
2009
  • Ne pas jouer avec des choses mortes, (texts) Julien Bismuth, Patricia Brignone, Marie de Brugerolle, Arnaud Labelle-Rojoux, Eric Mangion, Gérard Wajcman, Catherine Wood, published by Villa Arson, Nice (ill.)
2008
  • California Video : Artists and Histories, sous la direction de Glenn Philipps, (texts) Meg
    Cranston, Rita Gonzalez, Kathy Rae Huffman, Robert R. Riley, Steve Seid, and Bruce Yonemoto, ed. Getty Publications, Los Angeles, USA
2007
  • Collection art contemporain, catalog. Musée national d’Art Moderne, ed. Centre Pompidou, Paris, p. 247 (ill.)
  • Martin Kersels, Heavyweight Champion,eéd. The Frances Young Tang Teaching Museum and Art Gallery at Skidmore College, USA *
2006
  • Attention à la marche (Histoires de gestes), ed. La Galerie, Noisy le sec, p.7 (ill.)
  • Art Unlimited, Art 37 Basel, Switzerland
2005
  • LA Artland, Contemporary Art from Los Angeles, (texts) Chris Kraus, Jan Tulmir and Jane McFadden, éd. Black Dog Publishing, London, UK, pp. 202-203 (ill.)
  • Art Athina, Californian artists in Greek Collections, (text) Max Henry, ed. Maria Panayides, Athens, Greece, pp. 26-27
  • Situation comedy: Humor in Recent Art, (text) Dominique Molon and Michael Rooks, ed. ICI, New York, USA, pp. 39-40 (ill.)
  • Dionysiac, exhibition catalogue, ed. Centre Georges Pompidou, Paris, France
  • One Hundred Artists who have seen God, ed. ICA, London, UK
  • De l’idiotie aux burlesques contemporains, exhibition catalogue, Hors Série Beaux Arts, Paris, France, pp. 26, 47, 78-79, 84
2001
  • The Americans, New Art, exhibition catalogue, ed. Booth Clibborn, Barbican Gallery, London, UK, pp. 45-51
2000
  • Departures: 11 artists at the Getty, exhibition catalogue, (text) Lisa Lyons, ed. Getty Museum, Los Angeles, USA
1999
  • EXTRAetORDINAIRE, exhibition catalogue Printemps de Cahors, Cahors, France, pp. 102-103.
  • Signs of Life: Melbourne International Biennial, catalogue, (text) d’ Engberg and Murray, Melbourne, Australia
1998
  • Young Americans 2: New American Art at the Saatchi Gallery, (text) Brook Adams and Lisa Liebmann ed. Saatchi Gallery, London, UK
1997
  • Commotion: Martin Kersels, (text) Jerry Saltz, interview with Martin Kersels by Toby Kamps. ed. Madison Arts Center, Madison, USA *
  • Jose Alvaro Perdices, Cruising LA, ed. Galeria Soledad Lorenzo Orfila, Madrid, Spain
  • Celluloid Cave, ed. by Thread Waxing Space, New York, USA
  • 1997 Whitney Biennial Exhibition, catalogue, (text) Lisa Phillips and Louise Neri, ed. Whitney Museum of American Art, New York, USA, texts pp. 48, 102-103 (ill.)
1996
  • The Power of Suggestion: Narrative and Notation in Contemporary Drawing, (text) by Cornelia Butler, ed. Museum of Contemporary Art, Los Angeles, USA, pp. 7-8, 29-30 (ill.)
  • Defining the Nineties: Consensus-Making in New York, Miami, Los Angeles, (text) Bonnie Clearwater, Michael Duncan et Allan Schwartzman, ed. Museum of Contemporary Art, Miami, USA (ill. on the cover)
1995
  • La Belle et la Bête: un choix de jeunes atistes américains, (text) Lynn Gumpert, Béatrice
    Parent and David Pagel, ed. Musée d’Art Moderne de la Ville de Paris, Paris, France
  • LAX/94, (text) Anne Ayers, The Los Angeles Exhibition, ed. LAX, Los Angeles, USA

\* monography

Press articles

2013
  • Antoine Marchand, Volume, “Martin Kersels. The Body of Work”, n°6, pp.70-79, November (ill.)
  • n.s., The New School website, « ScultpureCenter — Subjective Histories of Sculpture : Martin Kersels », 28 janvier
2010
  • Valérie de Maulmin, Connaissance des Arts, “L’installation XXL de Martin Kersels”, september, n°685, p170 (ill.)
  • Jean-Yves Jouannais, Art Press, “Martin Kersels”, n° 372, november, p.100 (ill.)
2009
  • n.s., Technikart Hors-Série Art Contemporain, "Qui, Quoi, Où, Combien ? ", october, pp. 28-29 (ill.)
2008
  • Sonia Campagnola, Flash Art, “Live from Los Angeles”, Vol. XLI, n°263, pp.76-77,
    Novembee-December (ill.)
  • Michael Shaw, THE Magazine, “Martin Kersels: Heavyweight Champion”, november, p. 45 (ill.)
  • Jervey Tervalon, laweekly, “Falling Hard”, 18 september
  • Christopher Knight, Los Angeles Time, “Garage of his mind”, 18 september (ill.)
  • Christopher Knight, latimes.com, " Martin Kersels : Heavyweight Champion ", 18 september
  • David NG, Los Angeles Time, “Big in the Art World”, 10 september (ill.)
  • Marie Maertens, Technikart, “Such a lovely place”, n°124, p.118, July-August (ill.)
  • Mathilde Roman, Artpress, “Ne pas jouer avec des choses mortes”, may, n°345, p. 95
  • Roxana Azimi, Le Monde, “Le prix de l’éphémère”, 6-7 April
2006
  • Anne Rochette and Saunders Wade, Art in America, "Place Matters: Los Angeles Sculpture
  • Today/Speaking Volumes : 19 Interviews", november, 94, n°10
  • Eve Wood, ArtUS n°14, “Martin Kersels : ACME gallery, Los Angeles”, july-september
  • Christopher Miles, Los Angeles Times, “Ratting the cage of pop culture, politics”, 24 march
2005
  • Géraldine Selin, paris-art.com, “Burlesques contemporains”, september
  • Roxana Azimi, L’Oeil n°571, “Californie: des affreux jojos aux radicaux”, july-august, pp.108-111 (ill.)
  • Fabian Stech, Kunstforum, " Sex and drugs and rock’n roll ", july-august
  • Michel Gauthier, Art Press, “dionysiac”, may, pp. 78-79 (ill.)
  • Kathimerimi, 27 april
  • Giuditta Duron-Hess, Azione, “Provocare all’eccesso”, 20 april, pp. 1000-1001
  • di Flavia Fossa Marguti, Glamour.com, “dov’è finita l’emozione”, april (ill.)
  • Charles Danby, Art Review, “Dionysiac”, april
  • A nous Paris, " Tristes Bacchanales ", 21 march
  • Robert Guinot, La Montagne, " Dionysiac à Beaubourg ", 13 march
  • Muriel Denet, www. paris-art.com, “Dionysiac”, 4 march
  • Knack, “Testosteronkunst”, 20 march, p. 88
  • Exibart, “Dionysiac”, march-april
  • Judicaël Lavrador, Les Inrockuptibles, "Californicréation ", n°485, 23 february-1 march, pp. 82-83 (ill.)
  • Anne Bonnin, 02, “Dionysiac”, n°33, spring
  • Harry Bellet et Benjamin Roure, Le Monde, "Les Vedettes de l’art trash au Ce
  • Geneviève Brerette, Le Monde, “Des figures de l’excès…”, 18 february
  • Judicael Lavrador, Les Inrocks, “Californicréation”, n°482, 23 february — 1 march (ill.)
  • Nicolas Thély, Enville, “Dream Team Déchaînée”, n°4, february
  • Philippe Piguet, L’œil, “Dionysac, dans le flux de la vie”, february, p. 21
2004
  • William Jagger, Art New England, “Yankee Remix,” december 2003-january 2004
2003
  • Leslie Dick, Contemporary, “Gravity and Space”, (special edition), november (ill.)
  • Jean-Yves Jouannais, Art Press special, “La Station physiologique, laboratoire du burlesque”, n°24, pp. 24-29 (ill.)
2002
  • Andrew Gellatly, Frieze, “The American New Art : Barbican Art Gallery, London”, january-february, pp. 99-100 (ill.)
  • Thérèse Delpech, Libération “aujourd’hui, le nucléaire militaire revient en force”, 7 july (ill.)
  • Emmanuelle Lequeux, Aden, “Martin Kersels”, n°215, 3-9 july
  • Les Inrockuptibles, “Fat Man”, n°344, 26 june-2 july, p. 86 (ill)
  • Catherine Francblin, Les Cahiers du FNAC, “French Collection”, p. 23 (ill.)
2001
  • Nico Israel, Art Forum, “Martin Kersels, Deitch Projects”, Summer, pp. 184-185 (ill.)
  • James Trainor, Frieze, “Martin Kersels, Deitch Projects”, june-july-august, p. 122 (ill.)Grace * * Glueck, New York Times, 16 march
  • The Village Voice, 20 mars (ill.)
  • Michael Duncan, Art in America, “The serious Slapstick of Martin Kersels”, avril, pp. 120-125
2000
  • Deborah Irmas, Nano, “Martin Kersels”, n°1 (ill.)
1999
  • Bruce Hainley, Artforum, “Martin Kersels Talks About His Recent Work”, september, pp. 142-143 (ill.)
  • Jade Lindgaard, Les Inrockuptibles, “XXL”, spécial Printemps de Cahors, n°203, 16 June p. 13 (ill.)
1998
  • Takashi Murakami, Studio Voice, “Martin Kersels”, december, p. 111 (ill.)
  • Michael Darling, L.A. Weekly, “The Fat Man Sings”, 20 october — 5 november, p. 48 (Ill.)
  • William Wilson, Los Angeles Times, “Commotion pulls viewer into artistís wacky life”,21 october, p. F3
  • Jean-Yves Jouannais, Art Press, “L’idiotie, ésotérisme fin de siècle”, n°238, september pp. 40-41 (ill.)
  • Alison Smith, The Face, n° 20, september, pp. 186-187 (ill.)
  • Jesse Lerner, Poliester, “Martin Kersels (review, Dan Bernier Gallery)”, Summer Edition, pp.50-51
  • Jesse Lerner, Snowflake, n°3, p. 2
  • David Schafer, Art Papers, “Martin Kersels”, may-june, p. 30 (ill.)
  • Amy Gerstler, Artforum, “Martin Kersels (review, Dan Bernier Gallery)”, may, p. 155 (ill.)
  • Michelle Grabner, New Art Examiner, “Martin Kersels”, march, p. 49 (ill.)
1997
  • Karen Tom, Cover, “Commotion : Martin Kersels”, vol. 11, n°5, p. 97
  • Karen Tom, Buzz, “100 Coolest People in L.A.”, october, p. 98
  • Natasha Kassulke, The Capital Times, “Rhythm Sec.”, pp. 10-11 (ill + cover)
  • Fernando Huici, El Pais (Madrid), “Delicias del Microondas”, 12 july
  • Javier R. Nornblot, El Punto de las Artes (Madrid), “Cruising L.A.: el mundo fuera de la burat”, 4-17 july
  • Jose Maria Parreno, ABC (Madrid), “Los Angeles, punto de encuentro”, 4 july
  • M. Mora, El Pais (Madrid), “El arte crudo de seis « chicos malos » de Los Angeles
    se muestra en Madrid : Cruising L.A. combina fotos instalaciones y peinturas”, july
  • Marcos R. Barnatan, El Mundo (Madrid), “La Mirada despotica”, 28 june
  • Roberta Smith, The New York Times, “The Celluloid Cave”, 27 june, pp. 110-113
  • Christopher Knight, Los Angeles Times, “A Cola that refreshes”, 27 may, p. 1F & F8,
  • Christopher Knight, Los Angeles Times, “Show time at Biennial : send in the big crowds”, 23 march, pp. 74-75
  • Mark Sanders, Dazed & Confused, “Totally wired”, n°30, pp. 51-53 (ill.)
  • Paul Young, Buzz, “An A for UCLA Art Graduates to the top of the art school leader”, Summer Edition, p. 34
  • Hunter Drohojowska, Los Angeles Times, “He likes to throw his weight around”, 23 march,pp. 74-75 (ill.)
  • David Bonetti, San Francisco Examiner, 28 february, p. C11
  • George Melrod, World Art, n°18, pp. 40-45 (ill.)
  • Amy Fusselman, Bunnvrabbit, n°8, pp. 20-28 (ill.)
  • Christopher Miles, SOMA, “Multi-medium madcap”, march, pp. 13-16 (ill.)
  • David A. Greene, Art & Text, “Martin Kersels”, n°56, pp. 81-82 (ill.)
  • Joshua Decter, Artforum, “Martin Kersels”, february, pp. 86-87 (ill.)
  • Bruce Hainley, Artforum, “Power of suggestion”, february, p. 82 (ill.)
  • Bruce Hainley, Detour, “69 at the Whitney”, p. 156
1996
  • Calvin Reid, Art in America, “Martin Kersels at Jay Gorney”, november, pp. 111-112
  • Christopher Knight, Los Angeles Times, “Drawing the conventional conceptualist’s conclusion”, november, p. F3
  • Roberta Smith, The New York Times, “Martin Kersels at Jay Gorney”, 26 september, p. C29
  • Stuart Servetar, The New Art Examiner, “Martin Kersels”, october
  • Bill Arning, The Village Voice, “Big in L.A.”, 24 september, p. 71
  • Howard Halle, Time Out New York, “Heavy : An L.A. artist shows that size matters”, 4-11 september, p. 32
  • Randy Alexender, The New Art Examiner, “Hero”, may, p. 54 (ill.)
  • Roberta Smith, The New York Times, “Art, film and their brilliant, messy union”, 7 april, p. H33
  • Michael Kimmelman, The New York Times, “Ambitious Miami Reaches for a place in the sun”, 31 march, p. C34-37
  • Laurie Attias, Art News, “Beauty and the Beast”, april, p. 142 (ill.)
  • David Greene, Art Issues, “Need your love (Martin Kersels)”, march-april, pp. 15-18 (ill. + cover)
  • Deborah Wilke, The New Art Examiner, “Left of Center”, march, pp. 35-36
  • Amy Sillman, Things Review (internet magazine), “Left of Center”, 20 february, p. 1
  • Lisa Stein, Chicago New City, “Ten in one Gallery”, 18 february
  • Kaoru Jindalji, Bijutsu Techo (Tokyo), “Paris”, february, p.83
  • Roberta Smith, The New York Times, “Sampler 2: single channel video from Southern California”, 26 january p. C25
1995
  • Philippe Piguet, L’oeil, “La Belle et la Bête”, (ill.)
  • Philippe Piguet, Paris, Le Jourloi, “La Belle et la Bête”, 15 october, (ill.)
  • Alisa Tager, Art in America, november, p. 121 (ill.)
  • David Pagel, Frieze, “Musical chairs”, november — december, pp. 42-43 (ill.)
  • Terry R. Myers, New Art Examiner, “Martin Kersels”, october, pp. 48-49 (ill.)
  • Jody Zellen, Art Press, “Looking back in Anger”, september, p.1 (ill.)
  • Shizuyo Becker, BT (Japon), august, p. 123 (ill.)
  • David Greene, Los Angeles Reader, “For your listening & viewing pleasure”, 2 june, p.14 (ill.)
  • Christopher Knight, Los Angeles Times, “Artful sounds”, 10 may, p. F6
  • Marc Selwyn, Flash Art, “Report from Los Angeles”, may-june
1994
  • Michael Duncan, Art in America, L.A. Rising, december, pp. 74, 76-77 (ill.)
  • Susan Kandel, Los Angeles Times, “Sincerity focuses on beauty, but not without irony”, 24 november, p.F20,
  • Doug Harvey, Visions Quarterly, “Martin Kersels”, Winter edition, pp. 33-34 (ill.)
  • Michael Darling, Artweek, “An insistent whimsy”, august, p. 13
  • Jerry Saltz, Art & Auction, “L.A rising”, april, p. 91
  • Alisa Tager, Art Issues, “Martin Kersels”, march-april, p. 45 (ill.)
  • Alisa Tager, Galeries Magazine, “Ze news”, october, p. 35
  • Kerry Kugleman, Artweek, “The day of the machine”, 20 janvier, p. 13 (ill.)
  • Peter Frank, L.A. Weekly, “Art pick of the week”, 7 january (ill.)
1993
  • David Pagel, Los Angeles Times, “An enthusiastic embrace of powerful ambiguity”, 30 december, (ill.)

Martin Kersels

Contemporary

Drawing, installation, performance, photography, sculpture

American artist born in 1960 in Los Angeles, United States. 

Localisation
Yalle, United States

Presented by