| 2007 |
African Art Today: An Unbounded Vista, Nelson Atkins Museum, Kansas City, MO |
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Comic Abstraction, Museum of Modern Art, New York, NY |
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New Directions in American Drawing, Telfair Museum of Art, Savannah, GA |
| 2006 |
Zones of Contact: The 15th Biennale of Sydney, Sydney, Australia |
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When Artists Say We, Artists Space, New York, NY |
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SWARM, The Fabric Workshop and Museum, Philadelphia, PA |
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Mapping Space: Selections from the Collection, Miami Art Museum, Miami, FL |
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Africa Remix, Mori Art Museum, Tokyo, Japan |
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ARCO ‘06, Madrid, Spain |
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Super Vision, The Institute of Contemporary Art, Boston, MA |
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Freeing the Line, Marian Goodman, New York |
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Belief & Doubt, Aspen Art Center, Aspen |
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The Unhomely: Phantom Scenes in Global Society, Second International Biennial of Contemporary Art, Seville, Spain |
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Green Flame, New Crowned Hope Festival, Vienna, Austria |
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Distant Relatives / Relative Distance, Michael Stevenson Contemporary, Cape Town, South Africa |
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Visual Arts Jury Show, Fine Arts Work Center, Provincetown |
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Archpeinture: Painters Build Architecture, Camden Arts Centre, London, England |
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The Compulsive Line: Etching 1900 to Now, Museum of Modern Art, New York, NY |
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The Art of Etching at Crown Point Press, Bobbie Greenfield Gallery, Santa Monica, CA |
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Collection in Context: Selections from the Permanent Collection, Studio Museum, Harlem, NY |
| 2005 |
Remote Viewing (Invented Worlds in Recent Painting and Drawing), The Whitney Museum of American Art, New York, NY; St. Louis Museum of Art, St. Louis, MO |
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Mythologies, Walker Art Center, Minneapolis, MN |
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InSite, San Diego Museum of Art, San Diego, CA |
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Baroque and Neobaroque, Domus Artium 2002, Salamanca, Spain |
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Wittgenstein in New York, Kupferstichkabinett, Berlin Germany |
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Africa Remix, Centre Pompidou, Paris France |
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25 Jahre Sammlung Deutsche Bank, Deutshe Guggenheim, Berlin, Germany |
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Susan Inglett Gallery, New York, NY |
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Swarm, The Fabric Workshop, Philadelphia, PA |
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Firewall, Baden-Wuerttembergischer Kunstverein, Stuttgart, Germany |
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Prints into Drawings, Whitney Museum of American Art, New York |
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On Line, Louisiana Museum of Contemporary Art, Humlebaek, Denmark |
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Arnolfini, Bristol, England |
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Insight, San Diego Museum of Art, San Diego |
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25: Twenty-five Years of the Deutsche Bank Collection, Deutsche Guggenheim, Berlin |
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Logical Conclusions: 40 Years of Rule-Based Art, PaceWildenstein, New York |
| 2004 |
Carnegie International, Carnegie Museum of Art, Pittsburgh, PA |
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Sao Polo Biennial, Pavilhão Ciccillo Matarazzo, Sao Polo, Brazil |
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Whitney Biennial, The Whitney Museum of Art, New York, NY |
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Back to Paint, C & M Arts, New York, NY |
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Firewall, Ausstellungshalle Zeitgenossiche Kunst, Munster, Germany |
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Africa Remix, Museum Kunst Palst, Dusseldorf, Germany |
| 2003 |
Poetic Justice, 8th International Istanbul Biennial, Istanbul, Turkey |
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Lazarus Effect, Pragu Biennial 1, Prague, Czech Republic |
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The Moderns, Castello di Rivoli Museum of Contemporary Art, Turino, Italy. |
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GPS, Palais du Tokyo, Paris, France. |
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Outlook, International Exhibition, Athens, Greece. |
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Splat Boom Pow! The Influence of Comics in Contemporary Art 1970-2000, Contemporary Arts Museum, Houston, Texas |
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Ethiopian Passages: Dialogues in the Diaspora, National Museum for African Art Smithsonian Institution, Washington, DC |
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Metascape, Cleveland Museum of Contemporary Art, Cleveland, OH. |
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Social Strategies: Redefining Social Realism, University of Californa, Santa Barbara, CA |
| 2002 |
Drawing Now: Eight Propositions, Museum of Modern Art, New York, NY |
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Stalder-Mehertu-Solakov, Kunstmuseum Thun, Thun, Switzerland |
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Out of Site, New Museum, New York, NY (traveling) |
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Centre of Attraction, The 8th Baltic Triennal of International Art, Vilnius, Lithuania The Busan Biennale, Busan, Korea |
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Terra Incognita: Contemporary Artists: Maps and Other Visual Organizing Systems, Contemporary Arts Museum, St. Louis, MO |
| 2001 |
Urgent Painting, Musee d’Art Moderne de la ville de Paris, Paris, France |
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The Americans, Barbican Art Centre, London, United Kingdom |
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Painting at the Edge of the World, Walker Arts Center, Minneapolis, M |
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Freestyle, Studio Museum in Harlem, New York, NY |
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Artists-in-Residence, Studio Museum in Harlem, New York, NY |
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Casino 2001, Stedeiijk Museum Voor Actuele Kunst, Gent, Belgium |
| 2000 |
Selections Fall 2000, The Drawing Center, New York, NY |
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Five Continents and One City, Museo de la Ciudad de Mexico, Mexcio City, Mexico |
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Greater New York, P.S. 1 Contemporary Arts Center, New York, NY |
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Translations, Bard College Center for Curatorial Studies, Annandale-on-Hudson, NY |
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Glenn Brown, Julie Mehretu, Peter Rostovsky, The Project, New York, NY |
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Architecture and Memory, Lawrence Rubin Greenberg Van Doren, New York, NY |
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Architecture and Memory, CRG, New York, NY |
| 1999 |
Material, Process, Memory, The Jones Center for Contemporary Art, Austin, TX |
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The Stroke, Exit Art, New York, NY |
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Texas Draws, Contemporary Arts Museum, Houston, TX. Catalogue |
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Hot Spots: Houston, Miami and Los Angeles,” Weatherspoon Art Gallery, Greensboro, NC |
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Core 1999, The Glassell School of Art, The Museum of Fine Arts Houston, Houston, TX. |
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Sheer Abstraction, Barbara Davies Gallery, Houston, TX |
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Artistic Centers in Texas: Houston and Galveston, Texas Fine Arts |
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Association Galveston, San Angelo, El Paso, Austin, Tyler, TX. Catalogue. |
| 1998 |
Universal Pictures, Rudolph Poissant Gallery, Houston, TX |
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Text and Territory: Navigating through Immigration and Dislocation, University |
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Galleries, Illinois State University, Normal, IL |
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Core 1998, The Glassell School of Art, The Museum of Fine Arts Houston, Houston, Texas, Catalogue |
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Millennium Fever, Diverse Works, Houston, TX |
| 1997 |
Annual Graduate Student Exhibition, The Museum of the Rhode Island School of Design. |
| 1996 |
The Bombastic Righteous Passively Become Apparent Absurdities, Collaborative |
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Installation with Benjamin Edwards, Sol Kofler Gallery, Providence, RI |
| 1995 |
A Woman’s View, The World Bank International Women’s Exhibition, The World Bank Art Society, Washington, DC. |
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Yewenshet, Three Ethiopian Painters, The Brooklyn Public Library, Brooklyn, NY |
| 2007 |
Wulff, Freiderike. “Julie Mehretu” Artinvestor, January 2007, pp. 56-59. |
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Get Lost: Artists Map Downtown New York, New Museum, May 29, 2007 |
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Duehr, Gary. “Super Vision” Artscope, January – February 2007, pg.10. |
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Johnson, Ken. “The ‘Vision’ Thing” Boston Sunday Globe, December 10, 2006, pg.N1, N9 |
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Hillier, Jean. “Stretching Beyond the Horizon: A Multiplanar Theory of Spatial Planning and Governance” Great Britain, 2007 cover art, 22, 30, 56, 68, 208-211, 317 |
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Wicks, Stephen C. “New Directions in American Drawing” Georgia, 2007 p. 31- 32 |
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Marcoci, Roxana. “Comic Abstraction: Image-Breaking, Image-Making” New York, 2007. p.78-83 |
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Smith, Robert. “Visions That Flaunt Cartoon Pedigrees,” nytimes.com. March 2, 2007. |
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“Última semana para visitar tres de las exposiciones temporales del museo,”El Mundo. January 3, 2007. p.63. |
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“American Academy Fellows, 2006-2007” The American Academy in Berlin News (January 2007), p.3. |
| 2006 |
Stech, Fabian. “The Unholy- Phantom Scenes in Global Society.” Kunstforum |
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“Museum of Contemporary Art,” Biennale of Sydney 2006 Report, p. 16-17. |
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“Musac,” Art.es, Issue No. 15. |
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Firstenberg, Lauri. “Towards Abstraction: Indeterminacy and the Internationalisation of Julie Mehretu’s Painting,” Afterall. p. 91-98. |
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Eleey, Peter. “Julie Mehretu’s ‘Perfect’ Pictures,” Afterall. p. 99-103, 106. |
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International, Bd. 183 (Dec. 2006-Feb. 2007) pg.404-411. |
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“Arte En Cinco Continentes,” Nox. Winter 2006-2007. p. 58. |
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“Musac: Desde su inauguracion en 2005 el MUSAC, en Leon, se ha convertido en uno de los mejores centros de arte contemporaneo,” for magazine. Winter 2006-2007. |
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Sischy, Ingrid. “The New New York School” Vanity Fair, No. 556, (December 2006), pp.313-353. |
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“Julie Mehretu,” Musac. November 2006. p.14. |
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“Julie Mehretu,”Museomania. November 1, 2006. p. 37-39, 50. |
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Merlín, Clara. “Photo-call, Artístico.” Neo 2, no. 58 (November 2006): 70. |
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Espejo, Bea. “Otra ciudad para otra vida,” La Vanguardia. November 1, 2006. |
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Ruiz, Idota. “El MUSAC se llena de pintura,” Living Deco. October 2006. p.171. |
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Sheets, Hilarie M. “Julie Mehretu: In The Studio.” Art + Auction (October 2006): 44-50. |
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Sterckx, Par Pierre. “Les premiers ne seront pas les derniers.” |
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Beaux Arts Magazine, No. 9 (2006): 56. |
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Sardo, Delfilm. Pintura Redux, catalog, Fundação de Serralves/Jornal PÚBLICO, No. 07, 2006, p.64-67. |
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“Para ver,” Diario de Leon. October 19, 2006. p.68. |
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Padin, Roman. “Renace la Pintura,” El Correo Gallego. October 15, 2006. p.12. |
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“Julie Mehretu. ‘Black City’,” El Punto de las Artes. October 12, 2006. p.23. |
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“El Musac de León apuesta por la pintura más vanguardista para esta temporada,” La Razon. October 6, 2006. p.26. |
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“Julie Mehretu. “Black City,” El Punto De La Artes. October 6, 2006. p.23. |
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“Cinco nuevas exposiciones en el Musac,” El Mundo/ La Cronica de Leon. October 2, 2006. p58. |
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“Musac,” Lee.on, September 2006. p. 14. |
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“Julie Mehretu: Black City,” El Cultura, September 2006 |
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“Julie Mehretu, Black City,” Artforum, September 2006. |
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“El MUSAC presenta su program de exposiciones para cerrar y abrir año,” El Punto De La Artes. September 29, 2006. |
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Vinas, Veronica. “El Musac se llena de pintura,” Diario de Leon. September 28, 2006. p.64. |
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“Museo de Arte Contemporaneo de CyL inaugura cinco exposiciones a partir del 23 de septiembre y una pelicula sobre Zidane,” Europa Press. September 12, 2006. |
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Echaide, Marta. “La mutacion de la pintura sera el genero estrella de la nueva temporada,” Calle 20. September 2006. p.77. |
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Mayer, Mariano. “MUSAC,” Neo 2, September 2006 |
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Redaccion. “Black City. Dibujo, arquitectura y resistencia,” Disenart Magazine. September 2006. p.71. |
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Harris, Gareth. “Art can save lives”, The Art Newspaper, No.172, September 2006, Features p.29 |
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“Spain”, The Art Newspaper, Rest of Europe: our selection A-Z, No.172, September 2006, What’s On, p.13. |
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“California”, The Art Newspaper, Rest of Europe: our selection A-Z, No. 172, September 2006, What’s On, p.2. |
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Fanjul, Cristina. “El Musac se prepara para Merethu,” Diario De Leon. August 10, 2006. |
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Franco, Ana. “Exposicion,” Actualidad Economica. August 2006. p.111. |
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Duenasm, Issa Maria Benitez. “ARCO 2006: Madrid,” ArtNexus, no.61, vol.5, June-August 2006 p.106-109 |
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“El MUSAC Programa El Pase Especial de la Pelicula Zidane un Retrato Del Siglo XXI en la Jornada Inaugural De Sus Proximas Exposiciones,” Mentes-Inquietas. |
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Viloria, Maria Aurora. “Misterios en la ciudad negra,” El Norte de Castilla. July 30, 2006. p.76. |
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Rubio, David. “Nuevos reyes del lienzo en el Musac,” El Mundo/ La Cronica De Leon. July 14, 2006. p.68. |
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Cotter, Holland. “Art in Review: Freeing The Line,” The New York Times, July 7, 2006, p.E28. |
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Basha, Regina, “Julie Mehretu and Stephen Vitiello.” Zones of Contact: 2006, Biennale of Sydney, Biennale of Sydney Ltd., Seoul, South Korea, 2006. |
|
Mehretu, Julie, Fudong, Yang and Mckenzie, Lucy. Parkett, no.76, Zurich: Parkett-Verlag, 2006:24-63. Essays: Zuckerman Jacobson, Heidi “Julie Mehretu: Found Rumblings of the Divine”; Abani, Chris “Layer Me This”; Madeleine Schuppli “Flies in Amber.” |
|
Vinas, Veronica. “Casi 18.000 visitantes en un mes,” Diario de Leon. |
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Almudena de la Guardia. “Alta definicion en el MUSAC,” Alter Ego Magazine. p.22. |
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“Julie Mehretu,” Neo. p.71. |
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“Pasion Exposiciones,” Casaviva. No. 114 and 10. |
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“Titulo: Black City,” Alter Ego Magazine. p.23. |
| 2005 |
“RISD’s MacArthur Phenomenon.” RISD e-views, 09.19.06, issue #20. |
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“Honor Roll: A Top 10 For Your Radar.” Papercity. Houston, May 2006. p.45. |
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Kosha, Pratima. “Treasure House of Images.” Matrika Yoga, Spring 2006, Vol. 2. p.66-71. |
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Klopper, Sandra. “Distant Relatives/Relative Distance”. Artsouthafrica:The Pan- African Conversation. Spring 2006, Vol.5.1, p.64-65. |
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“A Night at Christie’s.” Studio: The Studio Museum in Harlem Magazine, Spring 2006, p.52-53. |
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Murray, Derek Conrad and Soraya. “Uneasy Bedfellows: Canonical Art Theory and the Politics of Identity.” Art Journal, Spring 2006, vol. 65, no. 1, p.23- 39 |
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Kino, Carol. “Teaming With the Artists to Buoy the Bottom Line.” The New York Times, 29 March 2006. |
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H., L. “Enjambre”, EXIT Express. March 2006. No.18. |
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Row, D.K. “Ovitz Collection Takes on an Adventurous Dimension.” The Sunday Oregonian. February 19, 2006. p.6. |
|
Hughes, Jeffrey. “Julie Mehretu – St. Louis.” Art Papers, January-February 2006, p 68-69. |
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Sozanski, Edward. “By Multiplication, Products of Art”, The Philadelphia Inquirer, December 25, 2005, pg.H10. |
|
Golden, Thelma. Artforum International: Best of 2005. December 2005, No.4. p.250-251. |
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Mehretu. Julie. “The Artists’ Artists.” Artforum International: Best of 2005. December 2005, No.4. p.107. |
|
Chaplin, Julia. “In Miami Beach, Parties, Boldface Names and, Yes, Some Art.” The New York Times, 27 November 2005. |
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“Mapping Space Charts New Ways of Seeing Our World”, Entertainment News and Views, November 18 – 24, 2005, p.8 |
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“‘Mapping Space’ MAM exhibition offers 37 perspectives on environs”, Coral Gables Gazette, November 17 – 23, 2005 |
|
Lee, Felicia R. “This Year’s ‘Genius Awards’ Reach Into Unusual Fields.” The New York Times, 20 September 2005: p. E3. |
|
Siemaszko, Corky. “Gotham Geniuses.” Daily News, 20 September 2005. |
|
“Studio: Hausbesuche.” Elle (Deutsche Ausgabe), September 2005. p 43. |
|
Grosenick, Uta. “Julie Mehretu.” Art Now, Vol. 2. Taschen, 2005. p.288-291. |
|
“Julie Mehretu in Remote Viewing: Invented Worlds in Recent Painting and Drawings.” Studio: The Studio Museum in Harlem Magazine, Summer 2005, p.12. |
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“Remote Viewing Invented Worlds in Recent Painting.” artdaily.com, 13 June 2005. |
|
Zeaman, John. “Complex Worlds in a high-tech Age.” NorthJersey.com, 10 June 2005. |
|
Gural, Natasha. “Show Bridges Abstraction, Representation.” Associated Press, 6 June 2005. |
|
Glueck, Grace. “Tapping Into a Glut of Information and Making Sense (and Art) of It All.” The New York Times, 3 June 2005. |
|
Rimanelli, David. “Greater New York 2005.” Artforum.com, May 2005. |
|
Rabinowitz, Cay Sophie. “Julie Mehretu’s Baroque Look Back.” Db artmag, May 2005. |
|
Sholis, Brian. “Julie Mehretu – Projectile Gallery.” Critic’s Pick. Artforum.com, May 2005. |
|
Chua, Lawrence. “Julie Mehretu.” Bomb Magazine. Spring 2005, pp. 24 – 31. |
|
Dannatt, Adrian. “New York Diary.” The Art Newspaper, No. 156, March 2005: p.33. |
|
Harris, Jane. “The Ruling Class: Seeking the poetic potential of neutral signs.” The Village Voice Voice, Choices 16-22 March 2005: p.8. |
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Plagens, Peter, “Portrait of the Artist”, Newsweek, January |
| 2004 |
Dodie, Kazanjan. “Art: Apocalypse Now” Vogue, September |
|
Ligon, Glenn. “Blacklight” Artforum, September |
|
Miles, Christopher. “Julie Mehretu: The Gallery at Redcat” Artforum, September |
|
Frank, Peter. “Art Pick of the Week: Julie Mehretu, LA Weekly, July 23-29 |
|
Hirsh, Faye. “Full Throttle Abstract”, Art in America, June/July |
|
Lorenza, Pignatti. “The Art of Noise” Kult, June |
|
Joselit, David. “Apocalypse Not”, Artforum, May |
|
Saltz, Jerry. “Blotto, Meet Buzzed”, Village Voice, May 11 |
|
Clark, Chris. “Visions from Abstract Voyager”, The Spectrum. SUNY, February 4, 2004 |
|
Hughes, Robert J. “Rising Stars of Spring”, The Wall Street Journal, March 12, p. W2 |
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Gouveia, Georgette. “Living in a Material World”, The Journal News, March 12, E1 |
|
Kimmelman, Michael. “Touching All Bases, Even Beauty, at the Whitney Biennial”,The New York Times, March 12, p. 38 |
|
Strange, Raimar. “Julie Mehretu bei Carlier/Gebauer, Kunst Bulletin, March , p. 37 |
|
Herbstreuth, Peter. “Explosionen in Zeitlupe”, Der Tegesspiegel, February 21 |
|
Huntington, Richard. “Technical Ecstasy, The Buffalo News, January 30, p. 21- 23 |
|
Schwan, Gary. “Young Artists Eschew ‘art correctness’”, The Palm Beach Post, Oct. 26 |
|
Jana, Reena. “Back to Paint.” Time Out New York, 2-9 September 2004. p 57. |
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Jana, Reena. “Back to Paint.” The New Yorker, (Galleries Uptown) 30 August 2004: p.20. |
| 2003 |
Turner, Elisa. “Close Encounters”, The Herald, September 21 |
|
Sjostrom, Jan. “Painter’s show at PBICA: A Cultural Whirlwind on Canvas”, PalmBeach Daily News, September 29, P. 3 |
|
Turner, Elisa. “Mehretu Magic”, The Miami Herald, October 26 |
|
“Abstractionism”, Art & Auction, July , p. 94 |
|
Berwick, Carly. “Julie Mehretu”, Elle Décor, June/July |
|
Beatrice, Luca. “I Moderni”, Flash Art, June/July |
|
Casciani, Stefano. “Are the Moderns Back?”, Domus, June |
|
Histoires Passes et futures”, Les Journal Des Arts, May/June |
|
Barilli, Renato, “Como Sono ‘anitichi’ questi moderni”, l’Unita, May 4 |
|
Abbe, Mary. “Julie Mehretu”. Minneapolis Star Tribune. April 6. |
|
Kim, Christine Y. “Color Blind: For A New Generation of Artists, Race Is A Metaphor But Not an Ism”, V Magazine, March/April |
| 2002 |
Dumbadze, Alexander. “Julie’s World”. Branna. Winter |
|
Chua, Lawrence. “Julie Mehretu”. Black Book Magazine, December. |
|
Firstenberg, Lauri. “Painting Platform in NY”, Flash Art, Nov- Dec |
|
Gomez, Edward M. “Art/Architecture New Yorkers Now, Their Gifts Were Nurtured” in The New York Times, September 22 |
|
Schroeder, Ivy. “Terra Scoped”, Riverfront Times, July 10 |
|
Berwick, Carley. “10 Artists to Watch” ,ArtNews, March |
|
Harris, Susan. Art in America, March. |
| 2001 |
Griffin, Tim. “Exploded view”, Time Out New York, December, pgs 6-13. |
|
Sirmans, Franklin. “Mapping a New, and Urgent, History of the World. New York Times, December 9. |
|
Chua Lawrence. Jalouse, November. |
|
Cotter, Holland. “A Full Studio Museum Show Starts with 28 Young Artists and a |
|
Shoehorn,” The New York Times, May 11. |
|
Tim Griffin. “Race Matters,” Time Out, May 24-31 |
|
David Hunt et al. Freestyle, exhibition catalogue, The Studio Museum in Harlem, New York. |
|
Bill Maxwell. “Art offers new notions of being black” St. Petersburg Times |
|
Ed., “The New Masters” Vibe, May |
|
Meghan Daily, “Freestyle” Artforum, May |
| 2000 |
Hoptman, Laura, “Crosstown Traffic”, frieze, September 2000 |
|
Anton, Saul, “Glenn Brown, Julie Mehretu, Peter Rostovsky”, Time Out New York, June15-22, 2000 |
|
Cotter, Holland, “Glenn Brown, Julie Mehretu, Peter Rostovsky”, The New York Times, June 23, 2000 |
|
Saltz, Jerry. “Greater Expectations”. The Village Voice. March 7-13, 2000 |
|
Cotter, Holland. “New York Contemporary, Defined 150 Ways.” The New York Times. March 6, 2000 |
|
Dumbadze, Alexander. “Julie Mehretu and Amy Brock”. New Art Examiner. September,1999. |
|
Dumbadze, Alexander. “Core 1999”. Art Papers. July/August, 1999. |
|
Dewan, Shaila. “Remaining Calm”.Houston Press, April, 07, 1999. |
|
Johnson, Patricia. “Esprit de Core/Fresh visions light the way for city’s young artists”. |
|
Houston Chronicle, March 21, 1999. |
|
Lauster, Daryl. “Introductions ‘98”. Artlies. Summer, 1998. |
|
Dewan, Shaila. “Bugs to Beauty”. Houston Press. July, 30, 1998. |