Mark Harris

7797 Shawnee Run Road, Cincinnati, OH 45243 (current address) tel. 212 518 3835, email: harrismk@uc.edu　 mh@negative.demon.co.uk
363 Hackney Road, London, E2 8PR (London address), tel. 020 7729 0820,　


Education

1998– Goldsmiths College: currently completing PhD in Philosophy
1995-97 University of Warwick, Coventry: MA in Continental Philosophy
1982-83 Brera Accademia di Belle Arti, Milan, Italy
1979-82 Royal College of Art, London, England: MA in fine art
1973-78 Edinburgh College of Art, Edinburgh, Scotland: Diploma and Postdiploma in fine art

Solo and collaborative exhibitions

2003 1 000 000 mph, London, with Peter Lloyd Lewis
2001 Trans Hudson Gallery, New York
1999 Economist Building, London, with Carmel Buckley
1996 Trans Hudson Gallery, Jersey City, with Jem Finer
1995 Hopkins Hall Gallery, Ohio State University, Columbus
1993 TennisportArts, New York
1991 Condeso/Lawler Gallery, New York
1988 Marianne Deson Gallery, Chicago
Studio Carlo Grossetti, Milan
1986 Juda Rowan Gallery, London
1985 Marianne Deson Gallery, Chicago
Studio Carlo Grossetti, Milan
1983 Studio Carlo Grossetti, Milan
Selected group exhibitions
2004 The Sneeze, Gallery Gazon Rouge, Athens
Group show, Studio Grossetti, Milan
Compound Interest, Collaborative Creative Concepts, Beacon,NY
2003 Science Fiction – Double Feature, Icon Gallery, Birmingham
15/1(2), 1 000 000 mph, London, curated by Denise Hawrysio
Hair the Show, Tablet Gallery, London, curated byPeggy Atherton and Marcia Farquhar
LIFTARCHIVE von SZUPER GALLERY, Kreisverwaltungsreferat, Munich
2002 Tabula Rasa, Croydon town centre video projections, curated by Skyline Projections
Critical Video Lounge, Artspace, Peterborough, Canada; Govett-Brewster Art Gallery,
Contemporary Art Museum, New Plymouth, New Zealand
Strike, Wolverhampton Art Gallery, curated by Gavin Wade

Group exhibition, Artspace, Peterborough, Canada

The Difference Between You & Us, Five Years, London
Song Poems, Rosamund Felsun Gallery, Los Angeles; at Angstrom Gallery, Dallas
2001 Song Poems, Cohan, Leslie & Browne, New York, curated by Stephen Hull
Critical Video Lounge, York City Art Gallery, curated by David Mabb
Deadwall Reverie, Five Years, London, curated by Val Sutton
Snapshot, Beaver College, Philadelphia
Century City, Tate Modern, Big Blue component curated by Peter Lewis
Other People’s Gardens, Bridport Museum, curated by Judith Frost
2000 Snapshot, Contemporary Museum, Baltimore
Sharjah Museum, UAR, Inroads
Hayward Gallery touring exhibitions, Dream Machines, curated by Susan Hiller,
Dundee Contemporary Arts Centre; Mappin Gallery, Sheffield; Camden Arts Centre, London;
Glynn Vivian Art Gallery, Swansea
1999 Kunsthalle, Vienna, Get Together–Art as Teamwork
18 Museum House, London, relocation
Five Years, London, The Blood Show
Aizu Wakamatsu City, Japan, Dream Centenary
Bregenz Kunstverein, Kunst in der Stadt, Naturally Art
30 Paris Street, London, The Manchurian Candidate, curated by Ciara Ennis and David Goldenberg
Workspace, New York, Imaginative Liberties, curated by Judy Mannarino
BAC, London, Dumbfounded
Sali Gia Gallery, London, Klega’s flat, curated by David Mollin
Cardiff Art and Time, About Time
MOTA gallery, London, Stretching the Intimate
1998 Trans Hudson Gallery, New York, Educating Barbie
20th Century Women’s Club, Los Angeles, I’m Still in Love with You, curated by Stephen Hull
Tramway, Glasgow, Host, curated by Peter Lewis
Centro Cultural Salar, La Paz, Bolivia, Estirando lo Intimo, video show curated by Fabian Cereijido
1997 Serge Sorokko Gallery, New York, Quirk
Richard Salmon, London; Kettle’s Yard, Cambridge, Craft
Trans Hudson Gallery, New York, Variations of Structure
Gallery Korea, New York, recurrence, curated by Theresa Chong
Richard Salmon, London, Bad August
Tricia Collins Grand Salon, New York; Gallery Idea, Mexico City; Centro Jacopo Borges, Buenos Aires,
Cereijido’s Summer Video Festival
Coins Cafe, London, Cafe Adler/Cafe Fix, Berlin, The Big Blue, curated by Peter Lewis
Studio Carlo Grossetti, Milan, Group Show
Shillam+Smith 3, London, Irredeemable Skeletons
Snug Harbor Cultural Center, Staten Island, NY, After the Fall: Aspects of Abstract Painting since 1970
Gasworks, London, FHOH, curated by Sean Cummings
Spencer Brownstone Gallery, New York, Cause and Defect
1996 450 Broadway Gallery, Lines and Dots, curated by Theresa Chong
Studio Carlo Grossetti, Milan, Continua
Trans Hudson Gallery, New York, Current Geometries in Abstraction
Penine Hart Gallery, New York, The Great Pretender
Bennington College, Vermont, Painting in an Expanding Field, curated by Saul Ostrow
1995 Knotts Mill, Manchester Ha!
1994 Studio Carlo Grossetti, Milan, Painting and Sculpture
Trans Hudson Gallery, Jersey City, Abstraction, discipline, freedom
Trans Hudson Gallery, Jersey City, Installations
1993 The Drawing Center, New York, The Return of the Exquisite Corpse
1992 Four Walls at Artists’ Space, New York, The Radio Show
Four Walls, Brooklyn, New York, Representing Death
TennisportArts, New York, Three installations
Jack Tilton, New York, Water Bar/Vox Vendor
1991 Art Fair, Los Angeles, Studio Carlo Grossetti
Studio Carlo Grossetti, Milan, Today
1989 Palazzo del Permanente, Milan, Quadriennale
Condeso/Lawler Gallery, New York
1988 A.I.R. Gallery, New York, At home for the holidays
1987 Gray Art Gallery, East Carolina University, Greenville, North Carolina
Bradford Print Biennale, Bradford, England, British Open
Studio Carlo Grossetti, Milan, Contemporanea
1986 Henry Moore Gallery, Royal College of Art, London
1984 Bruna Soletti Gallery, Milan, British and German painters
Riverside Studios, London, Five Painters

Awards, Scholarships and Residencies

1998 British Council Grant, exhibitions abroad, Educating Barbie, Trans Hudson Gallery, New York
1997 Art Omi, New York
1996 British Council Grant, exhibitions abroad, one-person show, Trans Hudson Gallery, Jersey City
1994 Triangle Workshop, Pine Plains, New York
1986 Fulbright Award
Sainsbury Award, Bradford Print Biennale
1984 Mexican Government Award
British Council Grant, exhibitions abroad, Studio Carlo Grossetti, Milan
1982 Italian Government Award

Teaching

2004- Professor, Fine Art, University of Cincinnati
2003-04 Visiting Artist, Sculpture, Painting and Printmaking Depts., Virginia

Commonwealth University

2002– Programme Leader, Fine Art BA, Loughborough University
2000–02 Programme Leader, Painting and Printmaking BA, Loughborough University
2000 Ohio State University, Columbus, BA Painting and MA seminar
1997–2000 Senior Lecturer,University of Wales Institute, Cardiff,BA Art & Aesthetics
1998-99 Seminar lecturer, Goldsmiths College of Art, London, MA Fine Art
1995 Ohio State University, Columbus, BA Painting and MA seminar
1989 Princeton University, New Jersey, BA Painting
1987 East Carolina University, Greenville, North Carolina, BA Painting
1982 Maidenhead College of Art,Foundation

Visiting Lecturer

2000 University of Kent, Canterbury
1999 Manchester Metropolitan University
　　　University of Central England, Birmingham
　　　University of Newcastle upon Tyne
1998 Manchester Metropolitan University
1997 University of Central England, Birmingham, University of Newcastle upon Tyne
1996 University of Newcastle upon Tyne
1986 Winchester College of Art
1985 School of the Art Institute of Chicago, visiting artist

External Examiner

1999–2004 Exeter School of Arts & Design, University of Plymouth, BA Combined Honours –
Fine Art with Languages
Course Validation
2003 Member of external committee revalidating BA Fine Art course at Bournemouth Institute of Art

Curating

1999 Battersea Arts Centre, London, Dumbfounded (artists included Yinka Shonibare, Susan Hiller,
Nick Bolton, David Burrows, Janette Parris, Leila Galloway, Phyllida Barlow)
1998 Trans Hudson Gallery, New York, Educating Barbie (artists included Mary Ellen Carroll,
Cheryl Donegan, Graham Durward, Kirsen Mosher, Louise Lawler, Jim Shaw)
1997 Shillam+Smith 3, London, Irredeemable Skeletons (artists included Simon Patterson,
Charles Long, Christine & Irene Hohenbüchler, Susan Hiller, Fred Wilson)
1995 Trans Hudson Gallery, Jersey City, curated and wrote catalogue essay for exhibition Material Abuse,
(artists included James Hyde, Drew Dominick, Beom Kim, Lauren Szold, Dominique Figarella)
1984 Casa degli Artisti, Milan, Corso Garibaldi, 89

Writing

2005 Interview with Simparch, Miser & Now magazine
How does your geographic location affect your practice?, Grouper magazine, Publico gallery, Cincinnati
Mel Jackson, essay for Matt’s Gallery, London, ISBN 0 907 623 48 4
Sculpting in Space and Time, review of CAA seminar proceedings for Henry Moore Institute newsletter
2004 Suite Amerika–Kafka, Kippenberger and Furniture Row, Miser & Now magazine
Christopher Wool – Image as Noise, article for Camden Art Centre publication; ISBN 1 900470 26 8
2002 100 Reviews Backwards, reviews, editor Matthew Arnatt, Alberta Press
2001 Becks Futures, review, NYArts, May 2001
100 Reviews, introduction and editing for book by Matthew Arnatt and David Mollin
London pats itself on the back, NY Arts, April 2001
1999 Introducing Nick Bolton, video artist, The Harris Museum, Preston, exhibition essay on Nick Bolton
1998 The Press Release and Alternative Spaces, in Who’s Afraid of Red, White and Blue?, ARTicle Press
Noises Off, Art Monthly, September, article,
BANK’s Death, New Observations #117, New York
Like a dog biting its own tail, Make, the magazine of Women’s Art, March-May
Drawing, for Wimbledon Drawing MA catalogue
1997 Immaterial Culture, Art Monthly, June, article
Trading Up or Selling Out, Art Monthly, February, article
On your bike!, Untitled, Spring, article
1996 Possessed in a most puzzling way of intelligibility, yet very hard to grasp,
Shillam + Smith 3, London, catalogue essay on Roxy Walsh
Putting on the Style: avant-garde style in New British art, Art Monthly, February, article
1995 Material Abuse, Trans Hudson Gallery, Jersey City, catalogue essay
Uncovering the Visible, Yoon Gallery, Seoul, catalogue essay on Beom Kim
1996– Reviews for Art in America
Mel Jackson, February, 2004
Milena Dragicevic, Artlab, December 2003
Merlin Carpenter, Magnani, July 2001
Simon Starling, Camden Arts Centre, May 2001
Jemima Stehli, Chisenhale Gallery, April 2001
BANK, Galerie Poo-Poo, February 1999
Rose Finn-Kelcey, Camden Arts Centre, July 1998
Tim Noble and Sue Webster, 20 Rivington Street, July 1998
Sarah Lucas, St. John’s Lofts and Sadie Coles HQ, January 1998
Joan Key, Richard Salmon, March 1997
Angela Bulloch, Robert Prime, May 1997
Jake and Dinos Chapman, I.C.A., October 1996
Simon Patterson at the Lisson Gallery, July 1996
1995– Reviews for Art Monthly
Mike Kelley and Tony Oursler, The Curve Gallery, Barbican Art Centre, July/August 2003
Blinky Palermo, Serpentine Gallery, May 2003
Oliver Herring, Rhodes + Mann Gallery, October 2002
Ian Breakwell and Nick Stewart, Video Projects for the BFI, December 2001
Mary Heilmann, Camden Arts Centre, May 2001
Multiple Store and HOAX, Lux and The Juggler Cafe, May 2001
Robert Melee, White Cube, September 2000
Conrad Atkinson, Bluecoat Gallery, Liverpool, February 2000
Intimate House, South London Art Gallery, December 1999
Performing the Body/Performing the Text, book review, November 1999
Accelerator, Southampton Art Gallery, December 1998
Keith Edmier, Sadie Coles HQ, June 1998
Charles Long, London Projects, July 1997
Sally Heard, 12 Aberdeen Road and Whitechapel Public Library, December 1996
Angus Fairhurst, White Cube, December 1996
Chris Burden, London Projects, October 1996
Gargantua by Julian Stallabrass, September 1996
Robert Wilson/Hans Peter Kuhn, Clink Street, November 1995

Conferences, Talks and Seminar papers

2005 Midwest Art Historians Society Conference, Intoxicated alienation as aesthetic strategy:
from Diderot to young British artists
2003 Whitworth Gallery, Manchester, paper title Aragon in the Arcades given at conference Fantasy Space:
Surrealism and Architecture, organised by Research Centre for Studies of Surrealism and its Legacies,
The University of Manchester, the University of Westminster and the Bartlett School of Architecture,
University College London.
2001 Camden Arts Centre, talk on Gordon Matta-Clark and Mary Heilmann in the context of 1970s New York
2000 National Museum & Gallery of Wales, Cardiff, conference title: The Subject of the Artist,
Title of paper: Consistently Inappropriate – BANK and Four Walls in the face of avant-gardism
Seminar on Dream Machines, Camden Arts Centre, London
1999 Paper given at New York Abstract Artists’ Association
Seminar on Monochrome Painting, New York Studio School
Research seminar on pornography, contemporary art and 1970’s feminist performance,
Goldsmiths College, London
1998 University of Central England, Birmingham; conference title: Who’s Afraid of Red, White and Blue?
Title of paper: Press releases of alternative spaces
Tramway, Glasgow; seminar title: Collaborative practice;
title of paper: Press releases of alternative spaces
College Art Association Conference, Toronto; title of session: Off-Color;
Title of paper: Pollock and Fontana; abstraction in excess

Conferences chaired/organized

2004 Lawrence and Isabel Barnett Symposium, The Ohio State University, Columbus, Ohio.
It’s More Than the Making: Educating Artists in the 21st Century; speaker and convener of Fine Art panel.
1999 Tate Gallery, London: chaired Pollock and Automatism, including Mike Bidlo and Susan Hiller
1998 I.C.A., London: chaired Space and Installation, including Martin Creed, John Frankland,
Michael Petry, Tomoko Takahashi
I.C.A., London: chaired Alternative Spaces, including Malcolm Dixon, Mark Hutchinson,
Stefan Kolmar, Kim Sweet
1986-87 New York Studio School; co-organized Art and Intentionality; including Lucio Pozzi, Mel Bochner,
Jed Perl, Nancy Spero
New York Studio School; co-organized Working from Observation; including Leland Bell, John Alexander,
Jane Freilicher, Deborah Rosenthal and Jane Wilson

Bibliography

Science Fiction Double Feature, (publication), aas, Icon Gallery, Custard Factory,
University of Central England, Birmingham
Sally O’Reilly, review of group show 15/12 at 1000000 mph, London, Art Monthly September 2003
Critical Home Video, (publication) Govett-Brewster Art Gallery, Contemporary Art Museum, New Plymouth,
New Zealand, 2003
Strike, (publication) Wolverhampton Art Gallery, 2002
Joe Hill, review of one-person show at Trans Hudson Gallery, Art in America, November 2001
Stephen Hull, (publication) Song Poems, group show at Cohan, Leslie & Browne, New York, June 2001
Oliver Karlin, review of one-person show at Trans Hudson Gallery, NY Arts, April, 2001
Kim Levin, review of one-person show at Trans Hudson Gallery, Village Voice, New York, Feb 28-March 6, 2001
Richard Cork, review of Dream Machines, The Times, October 4,2000
Dream Machines, (publication) Hayward Galley, London, 2000
Get Together–Art as Teamwork, (publication) Kunsthalle, Vienna, 1999
The Blood Show, (publication) Five Years, London, 1999
Jonathan Jones, review of The Blood Show, The Guardian, August 6, 1999
Michael Wilson, review of The Blood Show, Art Monthly, September 1999
Polly Staple, review of The Blood Show, Time Out, August 18-25, 1999
Wendy Shillam and Contemporary Arts Society, (publication) Economist Building, London, 1999
Maria Walsh, review of Economist show, Art Monthly, September 1999
Martin Coomer, review of Economist show, Time Out, August 26-September 1, 1999
Jonathan Jones, Economist show, Thursday Guide, The Guardian, September 2, 1999
Dream Centenary, (publication) Aizu Wakamatsu City, Japan, 1999
Naturally Art, (publication) Kunst in der Stadt, Bregenz, 1999
Alison Green, (publication) Dumbfounded, BAC, London, 1999
Stephen Hull, (publication) I’m Still in Love with You, 20th Century Women’s Club, Los Angeles, 1999
Ken Johnson, review of Educating Barbie, The New York Times, September 11, 1998
Carol Kino, review of Educating Barbie, Time Out, New York, September 17-24, 1998
Elisabeth Mahoney, review of Host, Contemporary Visual Arts, London, issue 1998
Emmanuel Cooper, review of Craft, Crafts UK, London January/February, 1998
Joan Key, Simon Watney, Janis Jefferies and Roy Voss, catalogue for Craft, Richard Salmon Gallery, London, 1997
Tania Guha, review of Bad August, Time Out, London, August 20-27, 1997
Lilly Wei, After the Fall: Aspects of Abstract Painting since 1970, (publication), The Newhouse Center for Contemporary Art at Snug Harbor Cultural Center, Staten Island, NY, April 1997
Gilda Williams, review of curated show Irredeemable Skeletons, Art Monthly, May 1997
Vivien Raynor, review of curated show Material Abuse, The New York Times, March 1995
Paola Morsiani, review, Juliet, Trieste, May/June 1991
Michael Brenson, review, The New York Times, February 1, 1991
Gabriele Perretta, review, Juliet, Trieste, October/November 1988
Gian Piero Vincenzo, review, Flash Art, Italian Edition, October/November 1988
Alan Artner, review, Chicago Tribune, May 27, 1988
Andrew Brighton, Art Expo’s class act, New Art Examiner, Summer 1988
Alistair Hicks, review, The Spectator, London, October 4, 1986
Phoebe Tait, review, Flash Art, Italian Edition, November 1985
Phoebe Tait, review, Financial Times, International Edition, August 12,1985
Alan Artner, review, Chicago Tribune, April 25, 1985
Elio Grazioli, Young Artists in Milan, Flash Art, Italian Edition, January 1985
Caroline Collier, Five Painters, Flash Art International, May 1984
Flavio Belocchio, review, Flash Art, Italian Edition, March/April 1984
Mel Gooding, Five Painters, Arts Review, March 1984
Waldemar Januszcak, Five Painters, The Guardian, March 1984
Elio Grazioli, review, Flash Art, Italian Edition, spring 1984