Texts on Merlin Carpenter

Gareth James, Please Kill Me, TEXTE ZUR KUNST, No. 51, September 2003, p. 155.

John Kelsey, Merlin Carpenter - American Fine Arts, Co., ARTFORUM, October 2003, p.171.

Alex Mar, Gallery - Going, THE NEW YORK SUN, August 7 2003, p.16.

Ken Johnson, Merlin Carpenter - Children of the Projects, THE NEW YORK TIMES, June 13 2003, p. E37.

Anon., Focus Painting Part II, FLASH ART, No. 227, November 2002, p. 81.
Mark Prince, Painting & Photography, ART MONTHLY, October 2002, p. 2.

David Bussel, in Vitamin P, ed. Valérie Breuvart, Phaidon, London/New York, 2002, p. 58.

Barbara Hess, in Art Now, ed. Uta Grosenick and Burkhard Reimschneider, Taschen, Köln, 2002, p. 84.

Michael Krebber: An der langen Leine, TEXTE ZUR KUNST, No. 46, 2002, p. 116 .

Merlin Carpenters Kunstzitate, KÖLNER STADTANZEIGER, 19. Feb. 2002, p. 26.

Matthew Collings, Art Crazy Nation, 21 Publishing, London, 2001, p. 212.

Mark Harris, Merlin Carpenter - Magnani, ART IN AMERICA, July 2001, p. 111.

Michael Wilson, Merlin Carpenter/Sigmar Polke, ART MONTHLY, February 2001, p. 34.

Michael Archer, Merlin Carpenter ­ Magnani, ARTFORUM, February 2001, p. 163.

Stefan Heidenreich, In der Luxuszone, FRANKFURTER ALLGEMEINE ZEITUNG (Berliner Seiten), 17th October 2000.

Peter Herbstreuth, Angriff an der Oberfläche, DER TAGESSPIEGEL (Berlin), 7th October 2000.

Mercedes Bunz, Wo ist Kunst?, DE-BUG (Berlin), October 2000, p. 32.

Anselm Wagner, Das Picabia-Verfahren, FRAME, July/August 2000, p. 62.

Josephine Pryde, Merlin Carpenter at Secession, MODERN PAINTERS, Summer 2000, p. 52.

Martin Prinzhorn, Dislozierte Ikonen, TEXTE ZUR KUNST, No. 38, June 2000, p. 142.

Matthias Dusini, Malen Nach Zahlen, FALTER (Vienna), No. 17, 2000, p. 61.

Markus Mittringer, Bilder auf die feine englische Art, DER STANDARD (Vienna), 30th March 2000, p. 17.

Susanne Leeb, Notorische Zweifel, TEXTE ZUR KUNST, No.35, September 1999, p. 316.

Die Kritik am Betrieb, Kölner Stadt-Anzeiger, 8/9 May 1999, p. 39.

Jutta Koether, Chant No 1, TEXTE ZUR KUNST No. 30, June 1998, p. 168.

Anke Kempkes, Prinzipiell Sekundär, SPEX March 1998, p. 54.

Peter Herbstreuth, DER TAGESSPIEGEL (Berlin), 7th February 1998, p. 29.

Brigitte Werneburg, TAGESZEITUNG (Berlin), 24th January 1998.

Isabelle Graw, Vermintes Gelände, TEXTE ZUR KUNST, No. 23 August 1996.

Gérard A. Goodrow, Ironically Playful, ARTNEWS, September 1994, p. 111.

Roberta Smith, For the New Galleries of the 90s, Small (and Cheap) is Beautiful, NEW YORK TIMES, 22nd April 1994.

Joshua Decter, Merlin Carpenter - Petzel/Borgmann, ARTFORUM, Summer 1994.

Gregor Schwering/Christophe Marx, Merlin Carpenter - Max Hetzler, ZYMA, March/April 1993.

Tom Holert, Merlin Carpenter - Max Hetzler, FLASH ART, March 1993.

Peter Herbstreuth, DER TAGESSPIEGEL (Berlin), 17th February 1993.

Werner Köhler, Merlin Carpenter - Bruno Brunnett Fine Arts, ARTIS, June 1993.

Ulrich Clewing, Frech Kommt Weiter, ZITTY (Berlin), March 1993.

Texts by Merlin Carpenter

 Back Seat Driver, in Gitarren, die nicht Gudrun heißen, Herausgegeben von Thomas Groetz, Galerie Max Hetzler/Holzwarth Publications, Berlin, 2002.

Media Guy, TEXTE ZUR KUNST, No. 45, March 2002, p.155.

The Sound of Bamboo, catalogue essay for Apothekerman by Michael Krebber, pub. Kunstverein Braunschweig, Stätische Galerie Wolfsburg, Walther König, 2000.

The Protest Had Already Impacted on London in the Form of its Absence, with Anthony Davies, in catalogue for the exhibition As a Painter I Call Myself the Estate of, Secession, Vienna, 2000.

Concentration, A.N.Y.P. No. 9 1999, p. 7.

Der Nichtzerbrochene Nichtspiegel, TEXTE ZUR KUNST, No. 31 September 1998, p. 66.

The Charlatans, SPEX, September 1997, p. 12.

Ein Haufen Sprache (Robert Smithson), SPEX, Febrauary 1997, p. 53.

Robert Smithson, TEXTE ZUR KUNST, No. 5 1992, p. 205.

I Was an Assistant, TEXTE ZUR KUNST, No. 1 Autumn 1990, p.119.

Various reviews, ARTSCRIBE, 1988-90.

Books/Catalogues

 Militant, Christian Nagel Gallery, Cologne, 2002.

Jewels-in-Art, (with Jeremy Glogan, Jospehine Pryde and Sarah Staton), Galerie Bleich-Rossi, Graz, 2001.

As a Painter I Call Myself the Estate of, Secession, Vienna, 2000.

Voluntary Effort, for an exhibition at Tom Solomon's Garage, Los Angeles, 1995.

Meet You by the Strange Twisted Old Oak Tree on the Secluded Knoll at Dawn in Your Swimming Trunks and I'll Tell You Something Secret, Published by MC and Nils Norman for fictional exhibition at Galerie Z, Göttingen, 1993.