RICHARD SHIFF
Office: Department of Art and Art History
The University of Texas at Austin
2301 San Jacinto Boulevard Stop D1300
Austin, TX 78712-1421
(512) 471-7547 FAX: (512) 471-7548
rshiff@austin.utexas.edu
Home: 1301 West Lynn, #304
Austin, TX 78703
(512) 608-2665
Citizenship: USA
Education:
Harvard College, 1961-65. BA, 1965, « Magna cum laude with Highest Honors in Architectural Sciences. » Phi Beta Kappa.
Harvard Graduate School of Design, 1965. Professional study in architecture.
Harvard Graduate School of Arts and Sciences. Special Student in Fine Arts, 1966. Graduate study in history of art.
Yale Graduate School, 1966-71. MA, 1969. PhD, 1973, in History of Art. Dissertation title: « Impressionist Criticism, Impressionist Color, and Cézanne. »
Teaching Appointments:
Effie Marie Cain Regents Chair in Art, and Director, Center for the Study of Modernism, The University of Texas at Austin, 1989 to present.
Visiting Professor of Art History, Emory University, Spring 1994.
Professor of Art, University of North Carolina at Chapel Hill, 1986-88.
Whitney Halstead Visiting Professor, School of the Art Institute of Chicago, Fall 1987.
Visiting Professor of History of Art, Yale University, Fall 1985.
Associate Professor of Art, University of North Carolina at Chapel Hill, 1978-86.
Assistant Professor in the Department of Art, the Committee on Art and Design, and the Committee on General Studies in the Humanities, University of Chicago, 1974-78.
Assistant Professor of Art, Tyler School of Art, Temple University, 1971-74.
Major post-doctoral fellowships and awards:
Elected to American Academy of Arts and Sciences, 2018.
Distinguished Teaching of Art History award, College Art Association, 2010.
Getty Senior Research Grant, 1996-97.
John Simon Guggenheim Fellowship, 1985-86.
National Humanities Center Fellow, Spring 1986.
Mellon Fellow in the Humanities, University of Pennsylvania, 1979-80.
Richard Shiff — Publications
Books:
Cézanne and the End of Impressionism: A Study of the Theory, Technique, and Critical Evaluation of Modern Art (Chicago: University of Chicago Press, 1984).
French edition: Cézanne et la fin de l’impressionnisme: théorie, technique et évaluation
critique de l’art moderne, trans. Jean‑François Allain (Paris: Flammarion, 1995).
Spanish edition: Cézanne y el fin del impresionismo: Estudio de la teoría, la técnica y la
valoración crítica del arte moderno, trans. Daniel Aguirre Oteiza and Roser Vilagrasa
(Madrid: A. Machado, 2002).
Chinese edition: Zhejiang University Press (forthcoming).
Reprinted excerpts: « Defining ‘Impressionism’ and the ‘Impression’, » in Francis Frascina
and Jonathan Harris, eds., Art in Modern Culture: An Anthology of Critical Texts
(London: Phaidon, 1992), 181-88.
« The Poussin Legend » [in Japanese], trans.Takanobu Tobishima and Shin’ichiro
Matsuoka, Eureka 28 (September 1996): 136-47.
Paul Cézanne (New York: Rizzoli, 1994).
Barnett Newman: A Catalogue Raisonné [co‑authored with Carol C. Mancusi-Ungaro and Heidi Colsman-Freyberger] (New York: Yale University Press, 2004).
E-book edition (2021): https://www.aaeportal.com/publications/-20943/barnett-newman–a-catalogue-raisonne
Doubt (New York: Routledge, 2008).
Between Sense and de Kooning (London: Reaktion, 2011).
Excerpt repr.: “Hands,” Willem de Kooning: Untitled XXI (New York: Christie’s, 2022), 21-33.
Ellsworth Kelly: New York Drawings 1954-1962 (Munich: Prestel, 2014).
More Dimensions Than You Know: Jack Whitten, Paintings 1979-1989 (New York: Hauser & Wirth Books, 2017).
Joel Shapiro: Sculpture and Works on Paper, 1969-2019 (Zurich: Scheidegger & Spiess, 2020).
Sensuous Thoughts: Essays on the Work of Donald Judd (Marfa TX: Marfa Book Company and Berlin: Hatje Cantz, 2020).
Jack Whitten: Cosmic Soul (New York: Hauser & Wirth, 2022).
Writing after Art: Essays on Modern and Contemporary Artists (New York: David Zwirner Books, 2023).
Books in progress:
An interpretive study of Frank Stella’s art
A selection of my published essays in German translation, with an introduction by Stephan Neuner (Zurich: Diaphanes).
A selection of my published essays in Serbo-Croatian translation, with an introduction by Milovan Novakovic (Podgorica: CID).
Edited Book:
Critical Terms for Art History [co‑edited with Robert S. Nelson] (Chicago: University of Chicago Press, 1996). Second edition: (Chicago: University of Chicago Press, 2003).
Includes my essays « Originality » (103-15; 2nd ed., 145-59) and « Afterword: Figuration » (323-28; 2nd ed., 479-85).
Japanese edition: Tokyo: Brücke, 2002.
Slovokian edition: Bratislava: Soros Center for Contemporary Art, 2004.
Korean edition: Seoul: Artbooks, 2006; second edition, Mijin, 2015.
Serbo-Croatian edition: Belgrad: SVETOVI, 2007.
Chinese edition: Nanjing University Press, forthcoming.
Reprinted excerpt from “Originality,” in Art & Visual Culture: A Reader, ed. Angeliki Lymberopoulou, Pamela Bracewell-Homer, and Joel Robinson (London: Tate Publishing, 2012), 234-40.
Journal articles, essays, book chapters, book introductions:
« Seeing Cézanne, » Critical Inquiry 4 (Summer 1978): 769-808.
« Art and Life: A Metaphoric Relationship, » Critical Inquiry 5 (Autumn 1978): 107-22.
Reprinted in: Sheldon Sacks, ed., On Metaphor (Chicago: University of Chicago Press, 1979), 105-20; Sally Everett, ed., Art Theory and Criticism (Jefferson, N.C.: McFarland, 1991), 154-69.
« The End of Impressionism: A Study in Theories of Artistic Expression, » Art Quarterly, NS, 1 (Autumn 1978): 338-78.
« The Art of Excellence and the Art of the Unattainable, » Georgia Review 32 (Winter 1978):
« History and Innovation » [co-authored with Carl Pletsch], Critical Inquiry 7 (Spring 1981): 634-38.
« Miscreation, » Studies in Visual Communication 7 (Spring 1981): 57-71.
« The Technique of Originality: ‘Innocence’ and Artifice in the Painting of Corot, Monet, and Cézanne, » Studies in Visual Communication 8 (Autumn 1982): 2-32.
« Mastercopy, » Iris (Paris) 1, no. 2 (1983): 113-27.
« Representation, Copying, and the Technique of Originality, » New Literary History 15 (Winter 1984): 333-63.
« The Original, the Imitation, the Copy, and the Spontaneous Classic: Theory and Painting in Nineteenth-Century France, » Yale French Studies, no. 66 (1984): 27-54.
« Making a Find: An Argument for Creativity, Not Originality, » Structuralist Review 2, no. 3 (Spring 1984): 59-80.
« Remembering Impressions, » Critical Inquiry 12 (Winter 1986): 439-48.
« The End of Impressionism » (revised version), in Charles Moffett, ed., The New Painting: Impressionism 1874-1886(San Francisco: The Fine Arts Museums of San Francisco, 1986), 60-89.
« Handling Shocks, » New Observations, no. 47 (1987): 14-19.
« Performing an Appearance: On the Surface of Abstract Expressionism, » in Michael Auping, ed., Abstract Expressionism: The Critical Developments (New York: Harry N. Abrams, for the Albright-Knox Art Gallery, 1987), 94-123.
Excerpted in Katy Siegel, ed., Abstract Expressionism (New York: Phaidon, 2011), 281-83.
« Anamorphosis: Jasper Johns, » in James Cuno, ed., Foirades / Fizzles: Echo and Allusion in the Art of Jasper Johns(Los Angeles: Wight Art Gallery, 1987), 147-66.
« On Criticism Handling History, » History of the Human Sciences 2, no. 1 (1989): 63-87.
Preliminary version: « On Criticism Handling History, » Art Criticism 3, no. l (Autumn 1986): 60-77.
« Painting, Writing, Handwriting: Roger Fry and Paul Cézanne, » introduction to Roger Fry, Cézanne: A Study of His Development (Chicago: University of Chicago Press, 1989), x-xxviii.
« Phototropism (Figuring the Proper), » Studies in the History of Art 20 (1989): 161-179.
Abridged version: « Phototropism (Figuring the Proper), » Photographic INsight 1, nos. 2-3 (Winter-Spring 1988): 19-34.
« Picasso’s Touch: Collage, Papier collé, Ace of Clubs, » Yale University Art Gallery Bulletin, 1990, 38-47.
[« To Create Oneself: Barnett Newman’s Writings »], introduction to John P. O’Neill, ed., Barnett Newman: Selected Writings and Interviews (New York: Alfred A. Knopf, 1990), xiii-xxviii.
German edition: Barnett Newman: Schriften und Interviews 1925-1970, trans. Tarcisius Schelbert (Bern and Berlin: Gachnang & Springer, 1996), 11-29.
French edition: Barnett Newman: Ecrits, trans. Jean-Louis Houdebine (Paris: Macula, 2011), 9-26.
Serbo-Croatian edition: Barnet Njuman: Izabrani Spisi i Razgovori, trans. Milovan Novaković (Crna Gora: CID, 2023), 11-23.
« Constructing Physicality, » Art Journal 50 (Spring 1991): 42-47.
[« Gasquet’s Portrait of Cézanne »], introduction to Joachim Gasquet’s Cézanne: A Memoir with Conversations, trans. Christopher Pemberton (London: Thames and Hudson, 1991), 15-24.
« Cézanne’s Physicality: The Politics of Touch, » in Salim Kemal and Ivan Gaskell, eds., The Language of Art History(Cambridge: Cambridge University Press, 1991), 129-80.<
French translation of this essay: Flammarion, 1995.
Spanish translation of this essay: Machado, 2002.
Japanese translation of this essay: Art Trace, 2012.
« The Necessity of Jimmie Durham’s Jokes, » Art Journal 51 (Fall 1992): 74-80.
Reprinted with minor additions and a new coda in Mette Gieskes and Greg Williams, eds., Humor in Contemporary Art: Between the Local and the Global (London: Bloomsbury, 2024), 225-39.
« ‘Il faut que les yeux soient émus’: impressionnisme et symbolisme vers 1891, » Revue de l’art, no. 96 (1992): 24-30.
This essay republished by Flammarion, 1995.
Spanish translation of this essay: Machado, 2002.
« Handling Shocks: On the Representation of Experience in Walter Benjamin’s Analogies » (expanded version), Oxford Art Journal 15, no. 2 (1992): 88-103.
« The Work of Painting: Camille Pissarro and Symbolism, » Apollo 136 (November 1992): 307-10.
« Cézanne and Poussin: How the Modern Claims the Classic, » in Richard Kendall, ed., Cézanne & Poussin: A Symposium (Sheffield: Sheffield Academic Press, 1993), 51-68.
« Water and Lipstick: de Kooning in Transition, » in Marla Prather, ed., Willem de Kooning: Paintings [exh. cat., National Gallery of Art, Washington] (New Haven: Yale University Press, 1994), 32-73.
Reprinted excerpt: Ellen G. Landau, ed., Reading Abstract Expressionism: Context and Critique (New Haven: Yale University Press, 2005), 594-615.
« Original Copy, » Common Knowledge 3 (Spring 1994): 88-107.
« Flexible Time, » Art Bulletin 76 (December 1994): 583‑87.
Greek translation: Kritiki & Techni 3 (2009): 10-20.
« Imitation of Matisse, » in Caroline Turner and Roger Benjamin, eds., Matisse [exh. cat.] (Brisbane: Queensland Art Gallery, 1995), 41-51.
[« Judgment of History »], Critical Reflections series, Artforum 34 (October 1995): 82-83, 124-25.
« Ascribing to Manet, Declaring the Author, » introduction to Bradford R. Collins, ed., Twelve Views of Manet’s ‘Bar’(Princeton: Princeton University Press, 1996), 1-24.
« On Passing Through Skin: Technology of Art and Sensation, » Public 13 (1996): 14-31.
Excerpt republished as « Switches, » Public 20 (2000): 78-81.
« Light’s Articulation: Solomon’s Temple, » introduction to James Alinder, ed., Solomon’s Temple: The European Building-Crafts Legacy, Photographs by Laura Volkerding (Tucson: Center for Creative Photography, 1996), 9-19.
« Strates, » in Suzanne Pagé, ed., Georg Baselitz [exh. cat., Musée d’Art moderne de la Ville de Paris] (Paris: Paris Musées, 1996), 39-47.
« Realism of Low Resolution, » Apollo 144 (November 1996): 3-8.
« Willem de Kooning: Painting’s Potential, » in Willem de Kooning: Paintings 1983-84 [exh. cat.] (New York: Matthew Marks Gallery, 1997), 7-17.
« La touche de Cézanne: entre vision impressionniste et vision symboliste, » in Françoise Cachin, Henri Loyrette, and Stéphan Guégan, eds., Cézanne aujourd’hui, (Paris: Réunion des Musées Nationaux, 1997), 117-24.
« Breath of Modernism (Metonymic Drift), » in Terry Smith, ed., In Visible Touch: Modernism and Masculinity(Chicago: University of Chicago Press, 1997), 184-213.
« To Move the Eyes: Impressionism, Symbolism, and Well‑being, c. 1891, » in Richard Hobbs, ed., Impressions of French Modernity: Art and Literature in France 1850-1900 (Manchester: Manchester University Press, 1998), 190-210.
« Cézanne’s Blur, Approximating Cézanne, » in Richard Thomson, ed., Framing France: Essays on the Representation of Landscape in France, 1870-1914 (Manchester: Manchester University Press, 1998), 59-80.
« From Primitivist Phylogeny to Formalist Ontogeny: Roger Fry and Children’s Drawings, » in Jonathan Fineberg, ed., Discovering Child Art: Essays on Childhood, Primitivism, and Modernism (Princeton: Princeton University Press, 1998), 157-200.
Japanese translation (by Mariko Kaname): Art/Criticism (Tokyo) 6 (Spring 2012).
Kaname translation repr., Japanese book on drawing (2017), pp. 337-408.
« Corot and the Painter’s Mark: Natural, Personal, Pictorial, » Apollo 147 (May 1998): 3-8.
« Originality in the Visual Arts, » « Photography/Catechresis, » in Michael Kelly, ed., Encyclopedia of Aesthetics, 4 vols. (New York: Oxford University Press, 1998), 3:408-13, 502-06.
Second edition, 6 vols., 2014: 5:27-32, 142-47.
« Closeness, » in Naomi Salaman and Ronnie Simpson, eds., Postcards on Photography (Cambridge: Cambridge Darkroom, 1998): 11-36.
« Sensation, Movement, Cézanne, » in Terence Maloon, ed., Classic Cézanne [exh. cat.] (Sydney: Art Gallery of New South Wales, 1998), 13-27.
« Homeopathic Criticism, » Common Knowledge 7 (Winter 1998): 4-13.
« L’expérience digitale: Une problématique de la peinture moderne, » trans. Jean‑François Allain, Les Cahiers du Musée national d’art moderne 66 (Winter 1998): 50-77.
Italian translation: « L’esperienza digitale: Una problematica della pittura moderna, » Ipso facto 8 (September-December 2000): 68-101.
« Natural, Personal, Pictorial: Corot and the Painter’s Mark » [expanded version], in Andreas Burmester, Christoph Heilmann, and Michael F. Zimmermann, eds., Barbizon: Malerei der Natur—Natur der Malerei (Munich: Klinkhardt & Biermann, 1999), 120-38.
« Mark, Motif, Materiality: The Cézanne Effect in the Twentieth Century, » in Felix Baumann, Evelyn Benesch, Walter Feilchenfeldt, and Klaus Albrecht Schröder, eds., Cézanne: Finished—Unfinished (Ostfildern‑Ruit: Hatje Cantz, 2000), 99-123.
Reprinted in: Mary Tompkins Lewis, ed., Critical Readings in Impressionism and Post‑Impressionism (Berkeley: University of California Press, 2007), 286-321.
« Chuck Close: Mark, Image, Medium, Interference, » in Chuck Close, exh. cat. (New York: PaceWildenstein, 2000), 4-15.
Reprinted excerpt: Mildred Glimcher, ed., Adventures in Art: 40 Years at Pace (Milan: Leonardo International, 2001), 615-17.
« Autonomy, Actuality, Mangold, » in Richard Shiff, Robert Storr, Arthur Danto, Nancy Princenthal, and Sylvia Plimack Mangold, Robert Mangold (London: Phaidon, 2000), 7-57, 282-88.
« Donald Judd: Fast Thinking, » in Donald Judd: Late Work, exh. cat. (New York: PaceWildenstein, 2000), 4-23.
« Behind and Underneath, » in Kosme de Barañano and Maita Cañamas, eds., Georg Baselitz: Escultura frente a pintura, exh. cat. (València: Instituto Valenciano de Arte Moderno, 2001), 36-51.
« Introduction, » in Michael Doran, ed., Conversations with Cézanne (Berkeley: University of California Press, 2001), xix-xxxiv, 215-22.
« Realism of Low Resolution: Digitisation and Modern Painting, » in Terry Smith, ed., Impossible Presence: Surface and Screen in the Photogenic Era (Chicago: University of Chicago Press, 2001), 124-56.
Reprinted in: Lucia Ricciardelli, ed., Illusions of Stillness and Movement: An Introduction to Film and Photography(San Diego: Cognella Academic Publishing, 2013), 167-95.
« The Gravity of Willem de Kooning’s Twist, » in Enrique Juncosa and Teresa Millet, eds., Willem de Kooning, exh. cat. (Valencia: Institut Valencià d’Art Modern, 2001), 54-89.
« Apples and Abstraction, » in Eliza E. Rathbone and George T. M. Shackelford, eds., Impressionist Still Life, exh. cat. (Washington: The Phillips Collection, 2001), 42-47, 227-28.
« De Kooning Controlling De Kooning, » in Cornelia H. Butler and Paul Schimmel, eds., Willem de Kooning: Tracing the Figure, exh. cat. (Los Angeles: Museum of Contemporary Art, 2002), 152-67.
« ‘With Closed Eyes’: De Kooning’s Twist, » Master Drawings 40/1 (2002): 73-88.
German trans. (text slightly expanded): “’Mit geschlossenen Augen’: De Koonings ‘Twist,’” trans. Nikolaus G. Schneider, in Barbara Wittmann, ed., Spuren erzeugen: Zeichnen und Schreiben als Verfahren der Selbstaufzeichnung(Zurich: Diaphanes, 2009), 145-67.
« Whiteout: The Not‑Influence Newman Effect, » in Ann Temkin, ed., Barnett Newman, exh.cat. (Philadelphia: Philadelphia Museum of Art, 2002), 77-111.
« Georg Baselitz Grounded, » in Jay Clarke, ed., « Negotiating History: German Art and the Past, » special issue of The Art Institute of Chicago Museum Studies 28/1 (2002): 52-65, 109-10.
« Expression: Natural, Personal, Pictorial, » in Paul Smith and Carolyn Wilde, eds., A Companion to Art Theory (Oxford: Blackwell, 2002), 159-72.
« Puppet and Test Pattern: Mechanicity and Materiality in Modern Pictorial Representation, » in Bruce Clarke and Linda Dalrymple Henderson, eds., From Energy to Information: Representation in Science and Technology, Art, and Literature (Stanford: Stanford University Press, 2002), 327-50, 420-26.
« A Space of One to One, » in Donald Judd: 50 x 100 x 50, 100 x 100 x 50, exh. cat. (New York: PaceWildenstein, 2002), 5-23.
« The Young Painter, » in Terence Maloon, ed., Picasso: The Last Decades, exh. cat. (Sydney: Art Gallery of New South Wales, 2002), 25-41.
« ‘La pittura per se stessa’. Cézanne e la natura morta » [« ‘Painting for Itself’: Cézanne and Still Life »], trans. Viviana Tonon, in Marco Goldin, ed., L’impressionismo e l’età di Van Gogh, exh. cat. (Conegliano: Linea d’ombra, 2002), 253-56.
« Derangement of Clouds, » Van Gogh Museum Journal (2002): 60-62.
« Mark, Sign, and Gesture in the Impressionist Context » [in Japanese], Bijutsu Forum 21 7 (Winter 2002): 47-54.
« Digital Experience in Modern Art, » Jinbun: Memoirs of the Faculty of Engineering and Design, Kyoto Institute of Technology 51 (2002): 85-94.
« A Compelling Uniqueness, » in Dean Sobel, ed., Robert Mangold: Paintings, 1990-2002, exh. cat. (Aspen: Aspen Art Museum, 2003), 16-29.
« Photographic Soul, » in David Green, ed., Where Is the Photograph? (Brighton: Photoforum and Photoworks, 2003), 95-111.
Spanish edition: “El alma fotográfica,” David Green, ed., Joana Furió, trans., Qué ha sido de la fotografía? (Barcelona: Gustavo Gili, 2007), 102-23.
« Bridget Riley: The Edge of Animation, » in Paul Moorhouse, ed., Bridget Riley, exh. cat. (London: Tate Gallery, 2003), 80-91.
Reprinted in About Bridget Riley: Selected Writings 1999-2016, ed. Doro Globus and Karsten Schubert (London: Ridinghouse, 2017), 227-56.
« Inventer les moyens, » in Jean‑Claude Lebensztejn and Patrick Javault, eds., Les Hyperréalismes USA 1965-75, exh. cat. (Strasbourg: Les Musées de Strasbourg, 2003), 60-77.
« Gego’s Materialism, » in Mari Carmen Ramirez, ed., Questioning the Line: Gego in Context (Houston: The Museum of Fine Arts, 2003), 117-49.
« Digitized Analogies, » in Hans Ulrich Gumbrecht and Michael Marrinan, eds., Mapping Benjamin: The Work of Art in the Digital Age (Stanford: Stanford University Press, 2003), 63-70.
« Criticism at Odds with Its Art: Prophecy, Projection, Doubt, Paranoia, » Common Knowledge 9/3 (Fall 2003): 434-62.
« Through a Slow Medium, » in Terrie Sultan, ed., Chuck Close Prints: Process and Collaboration (Princeton: Princeton University Press, 2003), 18-43.
Revised ed.: (Munich: Prestel, 2014), 18-34.
« Monet and the Mark, » in Rodolphe Rapetti, MaryAnne Stevens, Michael Zimmermann, and Marco Goldin, eds., Monet: Atti del convegno (Conegliano: Linea d’ombra, 2003), 164-69.
« Preference without a Cause, » in Joan Rothfuss, ed., Past Things and Present: Jasper Johns Since 1983, exh. cat. (Minneapolis: Walker Art Center, 2003), 12-27.
« Unfinished and Abstracted: Paul Cézanne, Twentieth‑Century Painter in Spite of Himself » (“Inacabado y Abstraído: Paul Cézanne, pintor del siglo veinte a pesar de sí mismo”), trans. Juan Luis Delmont, Cuaderno 7 (Caracas: Fundación Cisneros, 2003), 5-43.
« Classic and Modern Mastercopies, » in Javier Arnaldo, ed., Clasicismo y modernidad (Madrid: Fundación Colección Thyssen-Bornemisza, 2003), 29-55.
« Tychic Motitif: Baselitz in History » (“Tychisches Motitiv: Baselitz in der Geschichte”), in Georg Baselitz: Recent Paintings, exh. cat. (New York/Cologne: Michael Werner, 2003), n.p.
Reprinted in: Susanne Kleine, ed., Georg Baselitz: Bilder, die den Kopf verdrehen, exh. cat. (Bonn: Kunst- und Ausstellungshalle der Bundesrepublik Deutschland, 2004), 164-85.
« Donald Judd, Safe From Birds, » in Nicholas Serota, ed., Donald Judd, exh. cat. (London: Tate Publishing, 2004): 28-61.
“Abstraction not Abstraction,” in De Kooning: A Centennial Exhibition, exh. cat. (New York: Gagosian Gallery, 2004), 7-16.
“Manual Imagination,” in Adam D. Weinberg, ed., Terry Winters: Paintings, Drawings, Prints 1994-2004 (New Haven: Yale University Press, 2004): 18-33.
“Eine Amerikanisierung deutscher Kunst,” trans. Jürgen Blasius, in Cornelia Homburg, ed., German Art: Deutsche Kunst aus amerikanischer Sicht, exh. cat., (Cologne: DuMont, 2004), 21-35.
“Rasters in Paradise,” in Bridget Riley: Recent Paintings, exh. cat. (New York: PaceWildenstein, 2004), 5-19.
German trans.: “Raster im Paradies,” trans. Suzanne Schmidt, in Beat Wismer, ed., Bridget Riley, Bilder und Zeichnungen 1959-2005, exh. cat. (Aarau: Aargauer Kunsthaus, 2005), 26-41.
Reprinted in About Bridget Riley: Selected Writings 1999-2016, ed. Doro Globus and Karsten Schubert (London: Ridinghouse, 2017), 277-99.
“The Primitive of Everyone Else’s Way,” in Guillermo Solana, ed., Gauguin and the Origins of Symbolism (Madrid: Fundación Colección Thyssen-Bornemisza, 2004), 64-79.
Reprinted in Spanish in Arte e Historia (May 2022), at https://www.almendron.com/artehistoria/arte/pintura/gauguin-y-los-origenes-del-simbolismo/el-primitivo-de-los-caminos-de-otros/
“Judd Through Oldenburg,” Chinati Foundation Newsletter 9 (October 2004): 33-44.
Reprinted in: Tate Papers, no. 2 (Autumn 2004), at http://www.tate.org.uk/research/tateresearch/tatepapers/04autumn/shiff.htm.
“Index and Counterfeit,” in Shinichiro Osaki, ed., Traces: Body and Idea in Contemporary Art, exh. cat. (Kyoto: National Museum of Modern Art, 2004), 337-43 [Japanese trans., 39-47].
“Evolution,” in Terry Winters: Paintings and Drawings 1981-1986, exh. cat. (New York: Matthew Marks Gallery, 2004), 4-14.
“Love Her as Herself,” in Kevin Mullins, ed., David Reed: Leave Yourself Behind: Paintings and Special Projects 1967-2005, exh. cat. (Wichita: Ulrich Museum of Art, 2005), 24-65.
French trans.: “Aime‑là pour elle‑même: Sur David Reed,” trans. Catherine Vasseur, Les Cahiers du Musée national d’art moderne 97 (Autumn 2006): 41-63.
“La marionnette et la mire,” trans. Jean‑François Cornu, in Sylvie Ramond, ed., Impressionnisme et naissance du cinématographe (Lyon: Fage, 2005), 201-41.
“Newman’s Time,” in Melissa Ho, ed., Reconsidering Barnett Newman (Philadelphia: Philadelphia Museum of Art, 2005), 161-79.
“It Shows,” in Madeleine Grynsztejn, ed., The Art of Richard Tuttle, exh. cat. (San Francisco: San Francisco Museum of Modern Art, 2005), 253-76.
“Il caparbio impressionismo di Gauguin. Futuro, passato, presente” [“Gauguin’s Willful Impressionism: Future, Past, Present”], in Marco Goldin, ed., Gauguin/VanGogh: L’avventura del colore nuovo (Conegliano: Linea d’ombra, 2005), 76-99.
“Something Is Happening,” Art History 28 (November 2005): 752-82.
Reprint: in Deborah Cherry, ed., About Stephen Bann (London: Blackwell, 2006), 180-210.
“The Restless Worker,” in Terence Maloon, ed., Camille Pissarro, exh. cat. (Sydney: Art Gallery of New South Wales, 2005), 32-45.
“Cézanne’s Composition: Its Criticism, Its Art,” foreword to Erle Loran, Cézanne’s Composition (Berkeley: University of California Press, 2006), xi-xx.
“Das Physische des Abbildens,” trans. Torben Lohmüller, in Gertrud Koch and Christiane Voss, eds., Zwischen Ding und Zeichen: Zur ästhetischen Erfahrung in der Kunst (Paderborn: Wilhelm Fink Verlag, 2006), 118-34.
“Space Is Made,” in Donald Judd: Single Stacks 1964-1969, exh. cat. (New York: Van de Weghe Fine Art, 2006), 8-13.
“Techno/Sublime: The Physicality of Picturing,” in Lisa Tamaris Becker, ed., Techno/Sublime: An Exhibition and Symposium (Boulder: CU Art Museum, 2006), 30-41.
“Willem de Kooning: Same Change,” in Karen Painter and Thomas Crow, eds., Late Thoughts: Reflections on Artists and Composers at Work (Los Angeles: Getty Research Institute, 2006), 36-53.
“Selbst‑Interferenz,” trans. Kathrin Thiele and Birgit M. Kaiser, in Michael Lüthy and Christophe Menke, eds., Subjekt und Medium in der Kunst der Moderne (Zürich: Diaphanes, 2006), 13-35.
“Die Zwei Seiten eines jeden Augenblicks” [“Two Sides to Every Instant”], in Carla Schulz-Hoffmann, ed., Baselitz Remix, exh. cat. (Munich: Pinakothek der Moderne, 2006), 31-48.
“Cézanne in the Wild,” Burlington Magazine 148 (September 2006): 605-11.
“Looping,” trans. Thomas Raab, in Ingried Brugger and Florian Steininger, eds., Markus Lüpertz, exh. cat. (Vienna: Kunstforum, 2006), 15-31.
“Force of Myself Looking,” in Gary Garrels, ed., Plane Image: A Brice Marden Retrospective, exh. cat. (New York: Museum of Modern Art, 2006), 28-75.
“Curves Evolve,” in Robert Mangold: Column Structure Paintings, exh. cat. (New York: PaceWildenstein, 2007), 4-19.
“Tangible Datum,” in Paloma Alarcó, ed., Estudios de Historia del Arte en honor de Tomàs Llorens (Madrid: Machado, 2007), 509-27.
“Risible Cézanne,” in Eik Kahng, ed., The Repeating Image: Multiples in French Art from David to Matisse(Baltimore: Walters Art Museum, 2007), 127-71.
“Feet Too Big,” in Norman Rosenthal, ed., Baselitz, exh. cat. (London: Royal Academy of Arts, 2007), 24-33, 243-44.
“Johns Metanoid, Metanoid Johns,” in James Rondeau and Douglas Druick, eds., Jasper Johns: Gray, exh. cat. (Chicago: Art Institute of Chicago, 2007), 120-41.
“Pissarro: Dirty Painter,” in Karen Levitov, ed., Camille Pissarro: Impressions of City and Country, exh. cat. (New York: The Jewish Museum, 2007), 15-29, 81-82.
“Pending,” Joel Shapiro: New Sculpture, exh. cat. (New York: PaceWildenstein, 2007), 4-15.
“Seurat Distracted,” in Jodi Hauptman, ed., Georges Seurat: The Drawings, exh. cat. (New York: Museum of Modern Art, 2007), 16-29.
“Gauguin: Abstraction and Dream,” in Guillermo Solana, ed., Gauguin y los orígenes del Simbolismo (Madrid: Fundación Colección Thyssen‑Bornemisza, 2007), 214-27;
Spanish trans.: “Gauguin: abstracción y ensoñación,” 73-97.
“Barnett Newman – Einen Raum für die Selbst‑Bewusstheit zeichnen” [“Barnett Newman: Drawing a Space for Self‑Awareness”], trans. Nikolaus G. Schneider, in Angela Lammert, Carolin Meister, Jan‑Philipp Frühsorge, and Adreas Schalhorn, eds., Räume der Zeichnung (Berlin: Akademie der Künste, 2007), 113-23.
“Incidents,” in Judith Nesbitt, ed., Peter Doig, exh. cat. (London: Tate, 2008), 21-43, 154-55.
“Materie Denkt” [“Matter Thinks”], trans. Brigitte Willinger, in Ingried Brugger and Florian Steininger, eds., Monet, Kandinsky, Rothko und die Folgen: Wege der Abstrakten Malerei, exh. cat. (Vienna: Kunstforum, 2008), 12-27.
“Dichte Zeichnungen: Serras Schwarz” [“Drawing Thick: Serra’s Black” (revised)], trans. Sabine Bürger and Tim Beeby, in Eckhard Schneider, ed., Richard Serra Drawings: Work Comes Out of Work, exh. cat. (Bregenz: Kunsthaus Bregenz, 2008), 42-63.
Reprinted in Alexander van Grevenstein, ed., Extended Drawing: Sol LeWitt, Robert Mangold, Bruce Nauman, Richard Serra, exh. cat. (Maastricht: Bonnefantenmuseum, 2011), 65-69.
New version, slightly revised, in: Bernice Rose, ed., Richard Serra Drawing, exh. cat. (Houston: The Menil Collection, 2011), 30-39.
“Charm,” in Nicholas Serota, ed., Cy Twombly: Cycles and Seasons, exh. cat. (London: Tate, 2008), 10-31.
“Less Dead,” in Cornelia Butler, ed., Marlene Dumas: Measuring Your Own Grave, exh. cat. (Los Angeles: Museum of Contemporary Art, 2008), 144-75.
“To Risk Not Naming,” in John C. Welchman, ed., The Aesthetics of Risk (Los Angeles: JRP Ringier, 2008), 246-70.
“Mineral Life,” in Poul Erik Tøjner, ed., Per Kirkeby, Louisiana, 2008, exh. cat. (Humlebaek: Louisiana Museum of Modern Art, 2008), 60-75.
“Durch die Haut hindurch” [“Passing Through Skin”], trans. Ingrid Fichtner and Stefan Neuner, Magazin 31 12/13 (December 2008): 15-24.
“Sensation in the Wild: On Not Naming Newman, Judd, Riley, and Serra,” in Francis Halsall, Julia Jansen, and Tony O’Connor, eds., Rediscovering Aesthetics: Transdisciplinary Voices from Art History, Philosophy, and Art Practice(Stanford: Stanford University Press, 2008), 75-86, 289-91.
“Drawn on the Body: Neo‑Expressionism in Germany,” in Mark W. Scala, ed., Paint Made Flesh, exh. cat. (Nashville: Frist Center for the Visual Arts, 2009), 42-57.
“Lucky Cézanne (Cézanne tychique),” in Joseph J. Rishel and Katherine Sachs, eds., Cézanne and Beyond, exh. cat. (Philadelphia: Philadelphia Museum of Art, 2009), 54-101, 543-46.
“Wavering,” in Ewan Gibbs, ed., False Starts (Faringdon: Folly Books, 2009), 4-13.
“It Doesn’t Reveal Itself,” in Achim Borchart‑Hume, ed., Per Kirkeby, exh. cat. (London: Tate, 2009), 30-47.
Excerpt reprinted in: Art Lies 64 (Winter 2009): 22-25.
“Specificity,” in Marianne Stockebrand, ed., The Writings of Donald Judd (Marfa: Chinati Foundation, 2009), 78-98.
“Bridget Riley in Particular,” in Lynne Cooke and Karen Kelly, eds., Robert Lehmann Lectures on Contemporary Art 4(New York: Dia Art Foundation, 2009), 43-69.
“Until It Breaks,” Source: Notes in the History of Art 29 (Fall 2009): 35-41.
“Looping” [revised and substantially expanded], in Susanne Kleine, ed., Markus Lüpertz: Highways and Byways, exh. cat. (Bonn: Kunst- und Ausstellungshalle der Bundesrepublik Deutschland, 2009), 202-19.
Russian trans.: in Markus Lüpertz: Symbols and Metamorphoses, exh. cat. (St. Petersburg: Hermitage Museum, 2014), 186-245.
Chinese trans.: in Markus Lüpertz in China, exh. cat. (Beijing: Times Art Museum, 2015), ..
“Distractions: Cézanne in a Sketchbook,” Master Drawings 47 (Winter 2009): 447-51.
“Grave Seurat,” in Paul Smith, ed., Seurat Re‑viewed (University Park: Pennsylvania State University Press, 2009), 163-96.
“Vibrations” [“Wave”], trans. Maïca Sanconie, in Dieter Buchhart, ed., Edvard Munch ou l’“Anti‑Cri”, exh. cat. (Paris: Pinacothèque de Paris, 2010), n.p.
Dutch version: “Golf,” trans. Els Kuijpers, in Charlotte van Lingen, ed. Edvard Munch exh. cat. (Rotterdam: Kunsthal Rotterdam, 2010), 160-73.
“Paint‑Wall, Mur-Peinture,” trans. Jean‑François Cornu, in Cécile Debray, ed., Lucian Freud: L’atelier, exh. cat. (Paris: Centre Pompidou, 2010), 64-71.
English edition: “Paint-Walls,” Lucien Freud: The Studio (Munich: Hirmer, 2010), 64-71.
“Look to See by Looking,” in Steve Dietz, ed., Jim Campbell: Material Light (Ostfildern: Hatje Cantz, 2010), 68-79.
Spanish translation: “Mirar para ver mirando,” in Julia Zurueta, ed., Tiempo estático: Jim Campbell, 20 años de arte electrónico, (Buenos Aires: Fundación Telefónica, 2011), 15-25 (Spanish), 76-84 (English).
“You Become the Nature that You Paint,” in He Lijun, ed., Zeng Fanzhi (Beijing: ArtMia Foundation, 2010), 2-9.
Reprinted in: Zeng Fanzhi (Sofia: The National Gallery of Foreign Art, 2010), 10-21.
“Move with Chance,” in Christopher Bedford, ed., Mark Bradford, exh. cat. (Columbus: Wexner Center for the Arts, 2010), 74-93.
“Dream of Abstraction,” in Terence Maloon, ed., Paths to Abstraction 1867-1917, (Munich: Prestel, 2010), 52-69.
“Lumination,” in Kristine Bell, Tiffany Bell, and Alexandra Whitney, eds., Dan Flavin: Series and Progressions(Göttingen: Steidl, 2010), 82-93.
“To Stop the Heart,” in Marianne Stockebrand, ed., Chinati: The Vision of Donald Judd (New Haven: Yale University Press, 2010), 267-71.
Revised ed. (2020), 287-91.
“Every Mark Its Mask,” in Fabien Fryns, ed., Zeng Fanzhi (Ostfildern: Hatje Cantz, 2010), 10-27.
Excerpt reprinted in Wu Hung, ed., 2010: Zeng Fanzhi (Shanghai: Rockbund Art Museum, 2010), 63-67.
“He Painted,” in Barnaby Wright and Nancy Ireson, eds., Cézanne’s Card Players (London: Courtauld Gallery, 2010), 72-91.
“Projection, Projection,” Chinati Foundation Newsletter 15 (October 2010): 64-69.
“Kontingenzwinkel (Angle of Contingence),” in Julia Friedrich, ed., Joel Shapiro (Cologne: Museum Ludwig, 2011), 57-66.
“Cézanne: perte du sujet et classicisme sauvage,” trans. Catherine Dossin, in Rossella Froissart, Laurent Houssais, and Jean-François Luneau, eds., Du romantisme à l’art deco: lectures croisées (Rennes: Presses universitaires de Rennes, 2011), 199-207.
“Moving,” Willem de Kooning, The Figure: Movement and Gesture, exh. cat. (New York: Pace Gallery, 2011), 7-17.
“Every Shiny Object Wants an Infant Who Will Love It,” Art Journal 70 (Spring 2011): 6-33.
“Drift,” in Nikki Columbus, ed., Peter Doig (New York: Rizzoli, 2011), 300-52.
Reprinted in Japanese, trans. Masuda Tomohiro and Yuri Yoshida, Peter Doig (Tokyo: National Museum of Modern Art, 2020), 157-81.
Excerpt reprinted in Peter Doig: Swamped (New York: Christie’s, 2020), 45-60.
“Infinition,” in Dieter Buchhart, ed., Georges Braque: Pioneer of Modernism (New York: Acquavella, 2011), 29-45.
“What Judd Knows,” in Kristine Bell, Anna Gray, and Alexandra Whitney, eds., Donald Judd (Göttingen: Steidl, 2011), 19-63.
“The Not-Object,” in Barnett Newman Paintings (New York: Craig F. Starr Gallery, 2011), n.p. [3-7].
“Das Wetter [The Weather],” trans. Miranda Robbins, in Ingried Brugger and Florian Steininger, eds., Herbert Brandl(Ostfildern: Hatje Cantz, 2012), 34-40.
“Matière très matière,” in Cornelia Homburg, ed., Vincent van Gogh: Up Close (Ottawa: National Gallery of Canada, 2012), 120-53.
“Eine lebendige Hand (über Twombly) [A Running Hand],” in Marcel Finke and Mark A. Halawa, eds. and trans., Materialität und Bildlichkeit: Visuelle Artefakte zwischen Aisthesis und Semiosis (Berlin: Kadmos, 2012), 228-48.
“Comic de Kooning,” in Carla Schulz-Hoffmann, ed., Women: Picasso, Beckmann, de Kooning (Ostfildern: Hatje Cantz, 2012), 43-53.
“Mimetic de Kooning: How We Feel” [“Der mimetische de Kooning: Wie wir empfinden”], in Ingried Brugger and Florian Steininger, eds., Sammlung Herbert Looser (Ostfildern: Hatje Cantz, 2012), 226-37.
“Cézanne [Cry Out Cézanne],” in Barbara Schaefer, ed., 1912 Mission moderne: Die Jahrhundertschau des Sonderbundes (Cologne: Wienand, 2012), 88-109.
“Sensation, Cézanne,” in Judit Geskó ed., Cézanne and the Past: Tradition and Creativity (Budapest: Museum of Fine Arts, 2012), 33-47, 496-98.
“Our Cézanne” [on Leo Steinberg], Source 31 (Summer 2012) / 32 (Fall 2012): 27-31.
“Wall Piece,” in Gary Garrels, ed., Jasper Johns: Seeing with the Mind’s Eye (New Haven: Yale University Press, 2012), 106-12.
“Somewhere in the Light,” in Christoph Schreier, ed., David Reed, Heart of Glass: Gemälde und Zeichnungen 1967-2012 (Cologne: Snoeck, 2012), 53-59. German translation: “Irgendwo im Licht,” 69-88.
“Unexplained,” Art Bulletin 94 (September 2012): 339-43.
“Unbound,” in Flemming Friborg, ed., Kirkeby Epiphany (Copenhagen: Ny Carlsberg Glyptotek, 2012), 8-63.
“Turn,” in Carmen Giménez, ed., Picasso Black and White (New York: Guggenheim Museum, 2012), 40-57.
“Powder in the Sea,” in Rothko / Sugimoto: Dark Paintings and Seascapes (London: Pace Gallery, 2012), 4-13.
“Double-blur,” in Richard Shiff, Arlington National Cemetery: Drawings by Ewan Gibbs (Houston: Museum of Fine Arts Houston, 2012), 19-35.
“Watch Out for Thinking (Even Fuzzy Thinking): Percept and Concept in Modern Art,” Common Knowledge 19 (Winter 2013): 65-87.
“Specificity,” in Alexander Dumbadze and Suzanne Hudson, eds., Contemporary Art: 1989 to the Present (Chichester: Wiley-Blackwell, 2013), 126-36.
“On Knowing an Object,” in Glenn Peers, ed., Byzantine Things in the World (Houston: Menil Collection, 2013), 128-39.
“Our Life in Signs,” Julie Mehretu, Mural (New York: Goldman, Sachs, 2013), 11-71.
Excerpt in: e-misféria 11/1 (2014), at www.hemi.nyu.edu/journal/11.2/mehretu/signs
“The Question,” in Gabriel Pérez-Barreiro, ed., Waltercio Caldas (Austin: University of Texas Press, 2013), 84-95
“Blinking About,” Joel Shapiro: Sculpture and Drawings 1969-1972, exh. cat. (New York: Craig F. Starr, 2013), n.p.
“Signs Preserve Us,” in Juliet Bingham, ed., Ellen Gallagher: AxME (London: Tate Publishing, 2013), 190-199.
“La ligne qui sait où aller,” in François Michaud, ed., Jean-François Allain, trans., Zeng Fanzhi, exh. cat. (Paris: Musée de la ville de Paris, 2013), 64-90.
“Tobias Pils: Motive,” in Bettina Spörr, ed., Tobias Pils: Secession (Vienna: Secession, 2013), 5-12.
“Flotsam,” in Peter Doig: Early Work (New York: Michael Werner Gallery, 2013), n.p. [5-27].
“En suspens,” in Joel Shapiro, ed. Lorand Hegyi, trans. Adéo (Saint-Étienne: Musée d’art moderne, 2014), 16-31 (“Pending,” 76-89: revised version of “Pending” [2007]).
“Morality, Materiality, Apples,” in Benedict Leca, ed., The World Is an Apple: The Still Lifes of Paul Cézanne(London: D Giles, 2014), 145-95.
“De Kooning: The Kick, the Twist, the Woman, the Rowboat,” Austrailian and New Zealand Journal of Art 14, no. 1 (September 2014): 5-20.
“Wet,” in Keith Sonnier: Elysian Plain + Early Works (New York: Pace Gallery, 2014), 4-15.
“Abuse of Object and Image: On Dan Flavin,” in Andreas Beyer and Dario Gamboni, eds., Poiesis: Über das Tun in der Kunst (Paris: Deutscher Kunstverlag, 2014), 311-24.
“Ingemination,” Art History 37 (September 2014): 764-83. Reprinted in: Paul Duro, ed., Theorizing Imitation in the Visual Arts: Global Contexts (Chichester: Wiley Blackwell, 2015), 166-85.
“Sensuous Thoughts,” in Marianne Stockebrand, ed., Donald Judd: The Multicolored Works (New Haven: Yale University Press, 2014), 106-56.
“The Unaccountable,” in Bridget Riley: The Stripe Paintings 1961-2014, ed. Doro Globus (New York: David Zwirner Books, 2014), 18-39.
Reprinted in About Bridget Riley: Selected Writings 1999-2016, ed. Doro Globus and Karsten Schubert (London: Ridinghouse, 2017), 517-43.
“As It Feels,” Chinati Foundation Newsletter 19 (October 2014): 54-64.
“Reality by Chance,” Kodikas/Code: Ars Semeiotica 37, no. 3/4 (July-December 2014): 191-208.
“Primal,” in Ulf Küster, ed., Peter Doig (Riehen/Basel: Beyeler Foundation, 2014), 70-94.
Excerpt reprinted as: “Primal—An Extract,” Peter Doig, Boiler House, 1993 (London: Christie’s, 2020), 53-73.
“That Will Be That,” in Tricia Paik, ed., Ellsworth Kelly (London: Phaidon, 2015), 188-95.
“Ahead of Your Mind,” in Diana Tuite, ed., Brand-New and Terrific: Alex Katz in the 1950s (Munich: Prestel, 2015): 37-49, 203-05.
“Optiken [Optics],” in Christoph Schreier, ed., New York Painting (Cologne: Snoeck, 2015), 28-52.
“Decisiveness,” Source 35 (Fall 2015/Winter 2016): 6-21.
“Chance,” Common Knowledge 22 (January 2016): 1-4.
Reprinted as a review: Common Knowledge 25 (April 2019): 464-67.
“A Painter at Carnival,” Peter Doig: Fondazione Bevilacqua La Masa (London: Koenig Books, 2016), 33-50.
“Blur and Fuzz: On Translating Representations of Low Resolution,” Signata: Annals of Semiotics 7 (2016): 313-36.
Reprinted (with slight changes) as “Blur and Fuzz,” Brooklyn Rail, April 2017, 66-71.
“≠,” Richard Serra: Forged Steel (New York: David Zwirner Books, 2016), 109-29.
“Fit,” in Karsten Schubert, ed., Early Mondrian: Painting 1900-1905 (London: Ridinghouse, 2016), 6-25.
“Signs for Signs,” in Kate Ganz, ed., Drawing Then: Innovation and Influence in American Drawings of the Sixties(New York: Dominique Lévy, 2016), 11-15.
“Lost,” in Eva Mongi-Vollmer, ed., Georg Baselitz: The Heroes (Frankfurt: Städel Museum, 2016), 30-45.
Excerpt repr. as “Idéologies,” trans. Catherine Vasseur, in Georg Baselitz. La retrospective, ed. Bernard Blistène and Pamela Sticht (Paris: Éditions du Centre Pompidou, 2021), 255-57.
“How Seeing Feels,” Bridget Riley: Works 1981-2015 (New York: David Zwirner Books, 2016), 6-25.
Reprinted in About Bridget Riley: Selected Writings 1999-2016, ed. Doro Globus and Karsten Schubert (London: Ridinghouse, 2017), 569-90.
“More Bill than Bill,” in Andrea Schlieker, ed., Georg Baselitz: Wir fahren aus, We’re off (London: White Cube, 2016), 63-70.
“A Certain Condition of Ours,” in Pilar Ordovas, ed., Artists and Lovers (London: Ordovas Gallery, 2016), 70-93.
“0 to 1,” in Okwui Enwezor, Katy Siegel, and Ulrich Wilmes, eds., Postwar: Art Between the Pacific and the Atlantic, 1945-1965 (Munich: Haus der Kunst, 2016), 232-37.
“Paraph Painter,” in George T. M. Shackelford, ed., Monet: The Early Years (Fort Worth: Kimbell Art Museum, 2016), 58-67, 195.
“Marks of Low Resolution: Impressionism’s Artistic Language,” in Impressionism: The Art of Landscape, ed. Ortrud Westheider and Michael Philipp, (Potsdam: Museum Barberini, 2017), 26-37.
“L’œuvre meilleure encore (Pierre au paradis),” trans. Tamara Préaud and Pamela Roberts, in Pierre Schneider, Le Droit à la beauté: Chroniques de L’Express (1960-1992), ed. Rémi Labrusse (Paris: Hazan, 2017), 261-68.
“Mimetic Cézanne,” in Judit Geskó and Zsófia Kovács. eds., Cézanne and the Past: Tradition and Creativity (Budapest: Museum of Fine Arts, 2017), 84-101.
“Catastrophe,” in Solveig Øvstebø, ed., Between the Ticks of the Watch (Chicago: The Renaissance Society, 2017), 185-99.
“Munch on the Periphery,” in Gary Garrels, Jon-Ove Steihaug, and Sheena Wagstaff, eds., Edvard Munch: Between the Clock and the Bed (New York: Metropolitan Museum of Art, 2017), 58-73, 135-37.
“A Stone Is a Hill, a Hill Is a Stone,” in Markus Lüpertz, ed. Melissa Chiu and Dorothy Kosinski (Munich: Sieveking, 2017), 30-47.
Reprinted in: Markus Lüpertz: New Paintings (New York: Michael Werner, 2017), n.p.
Reprinted in: Markus Lüpertz: Über die Kunst zum Bild (Munich: Haus der Kunst, 2019), 520-37.
“Reanimation,” in Anita Haldemann, ed., The Hidden Cézanne: From Sketchbook to Canvas (Basel: Kunstmuseum Basel, 2017), 76-85.
“Die Welt ist Peter Saul passiert” [“The World Happened to Peter Saul”], trans. Heinrich Koop and Franca Fritz, in Martina Weinhart, ed., Peter Saul (Cologne: Snoeck, 2017), 72-85 [English version, 153-58].
Reprinted in Peter Saul (New York: Rizzoli, 2021), 7-15, 310.
“Women Singing II: Art Free of Context,” in Valerie Hellstein, ed., In Focus: Women Singing II, 1966, by Willem de Kooning (London: Tate Research Publication, 2017), http://www.tate.org.uk/research/publications/in-focus/women-singing-ii/art-free-of-context
“Our Instinct Enhanced,” in Jenny Harper, ed., Bridget Riley Cosmos (London: The Bridget Riley Art Foundation, 2017), 28-39.
Simultaneously published in Bulletin B [Christchurch Art Gallery] 189 (Spring 2017): 14-21. Excerpt published in The Art Newspaper (14 September 2017), http://theartnewspaper.com/review/an-imitation-not-a-copy-richard-shiff-on-what-bridget-riley-learned-from-georges-seurat
“A Minimalist Romance,” in Ann Sinfield, ed., Certainty and Doubt: Paintings by Dan Ramirez (Madison: Chazen Museum of Art, 2017), 7-20.
“Suspension,” in Suzan Frecon: painting (New York: David Zwirner Books, 2017), 61-69.
“Word-Heaven,” in Dieter Buchhart, ed., Words without Thoughts Never to Heaven Go (New. York: Almine Rech Gallery, 2018), 81-98.
“Off the Wire,” in Katy Siegel, ed., Odyssey: Jack Whitten Sculpture, 1963-2017 (New York: Gregory R. Miller & Co., 2018), 163-72.
“No Tale to Tell,” in Bridget Riley: Recent Paintings 2014-2017 (London: David Zwirner, 2018), 6-30.
Reprinted in Bridget Riley (Edinburgh: Scottish National Galleries, 2019), 222-35.
“For the Now,” in David Zwirner 25 Years, ed. Anne Wehr and Lucas Zwirner (New York: David Zwirner Books, 2018), 265-76.
“On Bridget Riley,” Chinati Foundation Newsletter 23 (2018): 6-17.
“Cézanne Photographic,” Nonsite, no. 26 (2018), at https://nonsite.org/article/cezanne-photographic
“The Jeremiah Case (Eight): It Takes Care of Itself,” in Josef Helfenstein, ed., Helmut Federle 19 E 21st St.: Six Large Paintings (Basel: Kunstmuseum Basel, 2019), 108-24.
“Bowling Takes His Chances,” in Elena Crippa, ed., Frank Bowling (London: Tate Publishing, 2019), 38-49, 195-96.
“Only When It Was Funny,” in Michael Williams (New York: Karma, 2019), 89-100.
“Illicit Events,” in Terry Winters: New Work (Zurich: Tobias Mueller, 2019), 32-39.
“Reality by Chance: Critics Page,” Brooklyn Rail, October 2019, 36-53 [my essay, followed by commentary by thirteen scholars].
“Original, copie, simulacre: aspects du multiple” [“Original, Copy, Simulacrum: Aspects of the Multiple”], trans. Guillaume Mélère, Perspective: actualité histoire de l’art (December 2019): 11-16.
“To Draw Is to Ground,” in Edouard Kopp, ed., Drawing Is Everything: Founding Gifts of the Menil Drawing Institute(Houston: The Menil Collection, 2019), 36-55, 221-22.
“Une monnaie en noir et blanc [Coinage in Black-and-White],” trans. Laurent Perez, The Postcard Dialogues, ed. Sarah Burkhalter and Laurance Schmidlin (Geneva: art&fiction, 2020), 51-58.
“Add Red, or Not,” in Sarah Roberts and Katy Siegel, eds., Joan Mitchell (New Haven: Yale University Press, 2020), 282-91, 359-61.
French ed.: “Ajouter du rouge, ou non,” trans. Dennis Collins and Olivier Brossard, Joan Mitchell (Paris: Hazan, 2022), 292-301, 369-71.
“Impression: A Romantic Anti-Concept for Naturalists and Impressionists,” in Alexis Clark and Frances Fowle, eds., Global Impressionism: Reception, Translation, and Transnationalism (New Haven: Yale University Press, 2020), digital publication at https://www.aaeportal.com/?id=-20001.
“Increase of Being,” in Gladys Chung, ed., Zeng Fanzhi: Untitled 2018 (New York: Rizzoli, 2019), 16-25.
“Sensation Abstracted,” in Judit Gesko, ed., Cezanne to Malevich: Arcadia to Abstraction (Budapest: Museum of Fine Arts, 2021), 29-41.
“Glenn Heim, Projection,” in Glenn Heim Paintings (San Antonio: Lawrence Markey, 2020), 46-55.
“I Am the Object: Jack Whitten’s Work of the 1990s,” Ursula, November 2020, at https://www.hauserwirth.com/ursula/30627.
“Haunting,” in David Reed (New York: Gagosian, 2022), 9-53.
“Separation,” in Edvard Munch: In Dialogue, ed. Dieter Buchhart, Antonia Hoerschelmann, and Klaus Albrecht Schröder (Munich: Prestel, 2022), 42-57.
Introduction to Leo Steinberg, Picasso: Selected Essays, ed. Sheila Schwartz (Chicago: University of Chicago Press, 2022), xi-xvi, 208.
“Gnomish to Gnomic: The Ironies of Georg Baselitz,” in Georg Baselitz (Berlin: Taschen, 2022), 6-11.
“Steinberg’s Resistance to Theory,” in Leo Steinberg Now. Il pensiero attraverso gli occhi, eds. G. Cassegrain, C. Cieri Via, J. Koering, S. Schwartz (Rome: Campisano Editore, 2022), 293-301.
“Donald Judd’s Unrelational Art,” Chinati Foundation Newsletter 26 (October 2021): 5-7.
“Luster without the Shine,” Robert Mangold: Plane Structures (New York: Pace Publishing, 2022): 5-15.
Reprinted in Pace Journal, May 11, 2022, at https://www.pacegallery.com/journal/richard-shiff-robert-mangold/
“Magic,” in Carmen Giménez and Josef Helfenstein, eds., El Greco/Picasso (Basel: Kunstmuseum Basel, 2022), 58-77.
“Dimensionless,” in Gabriele Guercio, ed., Gino De Dominicis: A Reader (Cologne: Koenig Books, 2023), ………
“Jumps Not Landed,” in Dieter Schwarz, ed., Richard Nonas (Geneva: MAMCO, 2023), 75-110.
“Rain Rising,” in Joost van der Hoeven, ed., Matthew Wong & Vincent van Gogh: Painting as a Last Resort(Amsterdam: Van Gogh Museum, 2024), “Motherwell Abstracted,” Brooklyn Rail
Review-essays:
« Father of the Twentieth Century » (William Rubin, ed., Cézanne, The Late Work), Times Literary Supplement, 25 August 1978, 954.
« Review Article » (five books on Pissarro), Art Bulletin 66 (December 1984): 681-90.
« Art History and the Nineteenth Century: Realism and Resistance » (field review), Art Bulletin 70 (March 1988): 25-48.
Review (John House, Monet: Nature into Art), Art Bulletin 73 (March 1991): 149-56 [printer’s correction, June 1991, 344].
« Break Dancing » (Yve‑Alain Bois, Painting as Model), Arts Magazine 65 (April 1991): 25-26, 29, 31, 35.
« Dense Cézanne » (« Cézanne, » Tate Gallery), Apollo 143 (June 1996): 51-54.
Review (John Rewald, The Paintings of Paul Cézanne: A Catalogue Raisonné), Art Bulletin 80 (June 1998): 384-89.
“At ‘Baselitz Academy,’” Brooklyn Rail, September 2019, at https://brooklynrail.org/2019/09/artseen/At-Baselitz-Academy
“Four to Three to Two: Markus Lüpertz, Toward the Image to Art,” Brooklyn Rail, December 2019-January 2020, 78-79.
“Paul Cezanne: Precarious Drawing,” Master Drawings 61/1 (2023): 109-25.
Criticism
« Insistent Matter: The Art of Irwin Kremen, » in The Art of Irwin Kremen, exh. cat. (Durham: Duke University Museum of Art, 1990), 1-6.
Reprinted in: Sarah Schroth, ed., Irwin Kremen: Beyond Black Mountain, 1966 to 2006, exh. cat. (Durham: Nasher Museum of Art, 2007), 63-83.
« Crafting Concentration: Three Artists at Davidson, » in Herb Jackson, Cort Savage, Russ Warren, exh. cat. (Davidson: Van Every Gallery, Davidson College, 1993), 5-17.
« Drawing Thick: Serra’s Black, » in Richard Serra: Weight and Measure Drawings, exh. cat. (New York: The Drawing Center, 1994), 17-28.
Review (« Franz Kline: Black & White, 1950-1961 »), Artforum 33 (December 1994): 78-79, 105.
« Vija Celmins’s Play of Imitation, » Parkett 44 (1995): 48-49.
Review (Best & Worst, 1995), Artforum 34 (December 1995): 65, 67.
« The Subject in Question » (« Howard Hodgkin: Paintings 1975-1995 »), Artforum 34 (January 1996): 62-67, 99.
« Jasper Johns, Alley Oop, 1958, » Artforum 34 (March 1996): 88‑89.
Review (« Negotiating Rapture: The Power of Art to Transform Lives »), Artforum 35 (October 1996): 112-13.
Review (« Lucian Freud: New Work »), Artforum 35 (January 1997): 76-77.
« A Family of Relations, » in Georg Baselitz: Recent Paintings, exh. cat. (New York: PaceWildenstein, 1997), 5-17.
« Infractions at Hand » [« Gesetzesverstösse »], in Georg Baselitz: Fracture Paintings, exh. cat., (New York/Cologne: Michael Werner, 1997), n.p. [3-21].
Review (« L’empreinte »), Artforum 35 (Summer 1997): 132-33.
« Allover You: The Art of Chuck Close, » Artforum 36 (April 1998): 92-99, 135, 138.
« New York and Columbus: Willem de Kooning, » Burlington Magazine 141 (May 1999): 315-17.
Review (« Brice Marden: Work of the 1990s »), Artforum 37 (May 1999): 173.
« Fort Lauderdale: Willem de Kooning, » Burlington Magazine 142 (June 2000): 398-99.
Review (« 1900: Art at the Crossroads »), Artforum 39 (October 2000): 138-39.
« Raster + Vector = Animation Squared, » Parkett 60 (2000): 44-49.
Review (« Gego 1955-1990 »), Artforum 40 (October 2001): 152.
Review (« Agnes Martin: The Nineties and Beyond »), Artforum 40 (April 2002): 131.
“Line, Loop, Loop, Line,” Markus Lüpertz: Rückenakte, exh. cat. (New York: Michael Werner, 2005), n.p.[5-15]. Dutch (Flemish) translation: in MuseumDoorDacht 1 (Deurle: Museum Dhondt‑Dhaenens, 2005), n.p.
Reprinted (German and English) in: Markus Lüpertz: Über die Kunst zum Bild (Munich: Haus der Kunst, 2019), 538-53.
“To Purge Negativity: A Skill Beyond Skill,” Markus Lüpertz: Maleri/Painting, exh. cat. (Copenhagen: Galleri Bo Bjerggaard, 2005), n.p.
Review (“Frank Stella 1958”), Artforum 44 (Summer 2006): 343.
“Thinking by Hand,” Veronica’s Veils: Herb Jackson, A Retrospective, exh. cat. (Charlotte: McColl Center for Visual Art, 2007): 7-19.
“Screens,” Jasper Johns / Georges Seurat Drawings, exh. cat. (New York: Craig F. Starr, 2008), n.p.
“Reality,” in Crystal Mowry, ed., Robert Linsley: A Geomorphic Fantasy (Kitchener: Kitchener-Waterloo Art Gallery, 2011), n.p. [5-11].
“Catching Up with the Instant,” in Adam Justice, ed., En Plein Sight: Paintings by Lilian Garcia-Roig (Lakeland: Polk Museum of Art, 2011), 4-9.
Reprinted in: Cheryl Vogel, ed., Lilian Garcia-Roig: Solid Fluidity (Dallas: Valley House, 2012), 10-16.
“In the Air,” in Kimberly Davenport, ed., Joel Shapiro (Houston: Rice University Art Gallery, 2012), 14-23.
“Drawing the Back of the Mirror,” Richard Serra Drawings, exh. cat. (New York: Craig F. Starr, 2012), n.p.
“The Constructor,” Timothy App: The Aesthetics of Precission, Forty-Five Years of Painting, exh. cat. (Washington: The Katzen Museum, 2013), 4-7.
Introduction to Joan Levy Hepburn, Streams, exh. cat. (Groton CT: UConn Avery Point, 2014), n. p.
Foreword to Gail Hastings, Missing: Four Sculptuations, iBook (Sydney: Pigment Publisher, 2014), v-vi.
“Textility,” Tate Etc., no. 32 (Autumn 2014): 64-67.
“A Succession of Qualities,” Tobias Pils (New York: Galerie Eva Presenhuber, 2016), 5-9.
“Immediacy and Helmut Federle,” Helmut Federle Drawings 1970s (San Antonio: Lawrence Markey Gallery, 2022), at https://www.lawrencemarkey.com/immediacy-and-helmut-federle-richard-shiff
“De Kooning Decades” (New York: Sotheby’s, 2022), at https://www.sothebys.com/en/articles/dekooning-decades
“A Song of Photography and Painting,” Orpheus Dreams of Eurydice: Meandering Cognitions, ed. Joost de Jonge (Venlo: Van Spijk, 2023), 42-47.
Book Reviews:
« Radicalizing Impressionism » (T. J. Clark, The Painting of Modern Life), New York Times Book Review, 3 March 1985, 16.
« The Myth Behind the Man » (Bernard Zurcher, Vincent Van Gogh), New York Times Book Review, 9 February 1986, 16.
« The Art of Painting » (Richard Wollheim, Painting as an Art), Partisan Review 57 (1990): 326-29.
« The Misogyny of American Modernists, » (Ronald Paulson, Figure and Abstraction in Contemporary Painting), Times Literary Supplement, 24 May 1991, 17.
Review (Donald Preziosi, Rethinking Art History), Journal of Modern History 63 (June 1991): 364‑66.
« Cézanne » (Sidney Geist, Interpreting Cézanne; Mary Tompkins Lewis, Cézanne’s Early Imagery), Art Journal 50 (Summer 1991): 82-83.
« Subversive Stickers » (Christine Poggi, In Defiance of Painting), Times Literary Supplement, 2 April 1993, 8.
« Go Figure » (Fred Orton, Figuring Jasper Johns), Artforum Bookforum, Summer 1995, 1, 26, 33.
Review (Jeremy Gilbert‑Rolfe, Beyond Piety), Artforum Bookforum, Summer 1996, 4, 7.
« Hermetic Zeal » (Michael Fried, Manet’s Modernism), Bookforum, Winter 1996, 20-21, 32, 34.
« Modest Proposals » (David Sylvester, About Modern Art), Bookforum, Winter 1997, 5, 51.
Review (Jonathan Crary, Suspensions of Perception), Journal of the History of the Behavioral Sciences 37 (Spring 2001): 209-10.
« Flying Colors » (Leo Steinberg, Leonardo’s Incessant Last Supper), Artforum 39 (May 2001): 23-24.
Review (Matthew Simms, Cézanne’s Watercolors: Between Drawing and Painting), Common Knowledge 16 (Spring 2010): 294-95.
Review (James D. Herbert, Brushstroke and Emergence), Common Knowledge 26 (1 January 2020): 172-75.
Review (André Dombrowski et al, ed., Cézanne in the Barnes Foundation), Burlington Magazine 165 (March 2023): 202-04.
Review (Thierry Greub, Cy Twombly Inscriptions), Burlington Magazine 165 (September 2023): 914-15.
Review (T. J. Clark, If These Apples Should Fall: Cézanne and the Present), Common Knowledge.
Notes, Catalogue entries, Letters, Discussions, Interviews, Pedagogy:
“What Makes Art?” With Henry Geldzahler, Richard Shiff, and Thomas Buechner. Glass Art Society Journal (1982): 5–11.
« Comments on Theoretical Perspectives » [concerning artificial intelligence], Leonardo 19 (1986): 269.
“Photographic Realism,” Social Science: An Interdisciplinary Digest of Research 71 (Fall 1986): 103-09.
« Representational Reciprocity, » in Inheriting the Theory: New Voices and Multiple Perspectives on DBAE (seminar proceedings) (Los Angeles: The Getty Center for Education in the Arts,1990), 4-8 (abridged); complete essay on diskette.
Reply to Sidney Geist, Art Journal 51 (Spring 1992): 125.
« On Modernism: An Interview with Richard Shiff » (conducted by Jill Beaulieu and Mary Roberts), Art Monthly Australia 81 (July 1995): 7-9.
« Cézanne au miroir de ses critiques, » Le Monde (Paris), 29 September 1995, 30.
« Paul Cézanne, Portrait of a Woman, » « Willem de Kooning, Police Gazette, » in Libby Lumpkin, ed., The Bellagio Gallery of Fine Art: Impressionist and Modern Masters (Las Vegas: The Bellagio Gallery of Fine Art, 1998), 58-63, 174-81. Revised ed., 1999, 88-93, 206-13.
« Chuck Close: la réalité dévisagée, » Beaux-arts, no. 183 (August 1999): 36-41.
« About Recent Painting: A Critical Exchange Among Thierry de Duve, Lane Relyea & Richard Shiff, » ed. Lane Relyea, in Annette DiMeo Carlozzi, Negotiating Small Truths, exh. cat., Jack S. Blanton Museum of Art, Austin, 1999, 129-37.
« Paul Cézanne, Las grandes bañistas, » El Cultural (Madrid), 9 January 2000, 38-39.
Introductory remarks and commentary for panel discussion, Art in the Landscape (Marfa: The Chinati Foundation, 2000), 115-31.
Statement on Leo Steinberg, Encounters with Rauschenberg, Artforum 39 (December 2000): 35.
« Paul Cézanne, ‘Still Life: Flask, Glass, and Jug,' » in Matthew Drutt, ed., Thannhauser: The Thannhauser Collection of the Guggenheim Museum (New York: Guggenheim Museum, 2001), 88-90.
« Digital Experience in Modern Art, » in Takanori Nagai, ed., Report on Research: Cézannisme in Japan (Kyoto: Kyoto Institute of Technology, 2002), 87-94.
« To Change, » in De Kooning: Paintings 1967-1984, exh. cat. (San Francisco: John Berggruen Gallery, 2002), 7-11.
« Entretiens: Chuck Close et Richard Shiff, » in Jean‑Claude Lebensztejn and Patrick Javault, eds., Les Hyperréalismes USA 1965-75, exh. cat. (Strasbourg: Les Musées de Strasbourg, 2003), 164-85.
« Drawing Modern: Works from the Agnes Gund Collection, » Artforum 42 (September 2003): 75.
“Talk” [contributions to group discussion], in Katy Siegel and Paul Mattick, Money (New York: Thames and Hudson, 2004), 181-93.
“Georg Baselitz,” in Klaus Gallwitz, Isabel Greschat, and Judith Irrgang, eds., Stefan Barmann, trans., Sammlung Frieder Burda (Ostfildern‑Ruit: Hatje Cantz, 2004), 136-41.
“Flicker in the Work: Jasper Johns in conversation with Richard Shiff,” Master Drawings 44 (Autumn 2006): 275-98.
“’Problem creation is more important than problem solving’: Chuck Close in conversation with Richard Shiff,” in Klaus Kertess, ed., Chuck Close Paintings: 1968-2006 (Madrid: Museo Nacional Centro de Arte Reina Sofia, 2007), 49-61.
“De Kooning and Woman, 1949,” in Willem de Kooning: Women, exh. cat. (New York: Craig F. Starr, 2007), n.p.
“Willem de Kooning: Untitled I, 1981,” in Willem de Kooning Untitled I, exh. cat. (New York: Christie’s, 2007), 7-9.
“Untitled, ca. 1946,” “Attic, 1949,” “Untitled, ca. 1949,” “Two Women, 1953,” in Gary Tinterow, Lisa Mintz Messinger, and Nan Rosenthal, eds., Abstract Expressionism and Other Modern Works: The Muriel Kallis Steinberg Newman Collection in The Metropolitan Museum of Art (New York: Metropolitan Museum of Art, 2007), 63-65, 75-82, 143-45.
“Joel Shapiro in conversation with Richard Shiff,” in Brad Thomas, ed., Joel Shapiro: Wood / Painted Wood, exh. cat. (Davidson: Van Every/Smith Galleries, Davidson College, 2008), 1-16.
“In Conversation: Richard Shiff with Katy Siegel,” The Brooklyn Rail, May 2008, 30-33.
“Interview: Richard Shiff” (interview by Caitlin Haskell) …might be good 100 (2008) http://www.fluentcollab.org/mbg/index.php/interview/index/100/20
“Introduction,” in Marianne Stockebrand, ed., It’s All in the Fit: The Work of John Chamberlain (Marfa: Chinati Foundation, 2009), 13-16.
“Introduction,” in Marianne Stockebrand, ed., The Writings of Donald Judd (Marfa: Chinati Foundation, 2009), 11-12.
“On Donald Judd’s Concrete Works,” Chinati Foundation Newsletter 15 (October 2010): 16-23.
“Thomas Kellein” [interview], …might be good 162 (4 February 2011), at http://www.fluentcollab.org/mbg/.
“Correspondence: Richard Shiff and Ewan Gibbs,” ed. Jason A. Goldstein, in Brad Thomas, ed., Ewan Gibbs: America(Davidson: Van Every/Smith Galleries, Davidson College, 2011), 71-86.
“Like A Whole Other Country? The State of Contemporary Art in Texas,” discussion by Margarita Cabrera, Alison de Lima Greene, Trenton Doyle Hancock, David Pagel, Virginia Rutledge, and Richard Shiff, Art Lies 68 (May 2011), on-line supplement.
“On Between Sense and de Kooning,” The Montréal Review, October 2011, at www.themontrealreview.com/2009/Between-sense-and-de-Kooning-by-Richard- Shiff.php.
“Newman We Never New, 2012,” in Vytas Narusevicius, ed., Serge Guilbaut: Rétro-Perspective (Vancouver: The University of British Columbia, 2012), 70-72.
“The Sign Itself,” in Jeffrey Grove, ed., Michaël Borremans: As sweet as it gets (Ostfildern: Hatje Cantz, 2014), 254-55.
“Georges Seurat: Standing Woman, c. 1882; In a Park, c. 1883, in Mind’s Eye: Masterworks on Paper from David to Cézanne, ed. Olivier Meslay and William B. Jordan (Dallas: Dallas Museum of Art, 2014), 154-57.
“Blur and Fuzz,” CoCAin…, no. 5 (March 2014): 42-43.
“As It Feels,” Brooklyn Rail, February 2014, 25.
“The Kiss,” email exchange, Richard Shiff and Marlene Dumas, Marlene Dumas: The Image as Burden, ed. Leontine Coelewij, Helen Sainsbury, and Theodora Vischer (London: Tate Publishing, 2014), 122-23.
“Cliché and a lack of feeling: Richard Shiff explains why critics have failed painting,” The Art Newspaper, 5 June 2015, at www.theartnewspaper.com/comment/reviews/exhibitions/156620/.
Interview (29 January 2015), in Gail Hastings, ed. The Missing Space Project: Six Interviews, ebook (Sydney: Pigment Publisher, 2015), 97-130.
“Dear Per,” in Siegfried Gohr, ed., Per Kirkeby: Polar Breeze and Gentle Lapping of Waves (Ostfildern: Hatje Cantz, 2015), 113-17.
“Willem de Kooning,” in Mary Savig, ed., Pen to Paper: Artists’ Handwritten Letters (New York: Princeton Architectural Press, 2016), 52-53.
“A Conversation,” Keith Sonnier: Ebo River and Early Works (New York: Pace Gallery, 2016), 6-21.
Statement for “Chinati Foundation Master Plan Symposium,” Chinati Foundation Newsletter 22 (October 2017): 23-24, 29-31.
“The Art and Wisdom of Jack Whitten,” Apollo, January 30, 2018, at www.apollo-magazine.com/the-art-and-wisdom-of-jack-whitten/
“In Memoriam: Remembering Jack Whitten,” Brooklyn Rail, February 7, 2018.
“An Exchange: Ewan Gibbs and Richard Shiff,” Ewan Gibbs: New York / Chicago (New York: Richard Gray Gallery, 2019), 3-20.
“Primordial: An Exchange between Tobias Pils and Richard Shiff,” Tobias Pils: Primordial Flow (Cologne: Galerie Gisela Capitain, 2019), n.p.
“Markus Lüpertz,” Markus Lüpertz (Brussels: Almine Rech, 2019), n.p.
“Painting, Photography, Portraiture,” in Luca del Baldo, ed., The Visionary Academy of Ocular Mentality: Atlas of the Iconic Turn (Berlin: De Gruyter, 2020), 346-53.
“In Conversation: Richard Shiff with Jessamine Batario on Donald Judd,” Brooklyn Rail, October 2020, at https://brooklynrail.org/2020/10/art/RICHARD-SHIFF-with-Jessamine- Batario
“Art and John Robertson,” Off the Walls: Gifts from Professor John A. Robertson, ed. Claire Howard (Austin: Blanton Museum of Art, 2020), at https://blantonmuseum.org/chapter/richard-shiff-art-and-john-robertson/
“Me and Luke: On Joost de Jonge’s Photographs,” Water on Water: Painted Poetry & Painterly Poetics, an Ekphrastic Notion (Utrecht: Joost de Jonge, 2020), 336-40.
“Richard Shiff on Byzantium, 1969,” vimeo presentation on Bridget Riley (2021), https://vimeo.com/user16467475/review/505409156/8c1f859194
“Bevezato gondolatok [Introductory Thoughts],” Élet és Irodalom [Life and Literature] (Budapest), 5 November 2021.
Also printed as “Introductory Reflections,” Museum of Fine Arts, Budapest, at https://www.mfab.hu/opening-speech-by-richard-shiff/
And as “Discours d’inauguration,” Cezanne to Malevich—Arcadia to Abstraction, at https://www.societe-cezanne.fr/2021/11/03/cezanne-to-malevich-arcadia-to-abstraction-28-october-2021-13-february-2022-discours-dinauguration-richard-shiff/
“Brice Marden, 11 (To Leger), 1987-1988,” “Cy Twombly,” “Willem de Kooning, Untitled XXXIII, 1977, Untitled IV, 1983,” The Macklowe Collection, ed. Lisa Dennison (New York: Sotheby’s, 2021), 56-59, 72-77, 220-24.
“Emotional Life: Richard Shiff in conversation with Elmgreen & Dragset,” Elmgreen & Dragset: The Nervous System (New York: Pace Publishing, 2021), 59-131.
“On Jasper Johns: Richard Shiff, Scott Rothkopf, and Carlos Basualdo in Conversation,” Brooklyn Rail, December 2021-January 2022, at www.brooklynrail.org/2021/12/art/On-Jasper-Johns
“…talán sosem váltottam szót élő művésszel úgy, hogy Cezanne neve ne merült volna fel viszonylag hamar,” Richard Shiff interviewed by Zsuzsanna Szegedy-Maszák, Artmagazine (Budapest) 132 (December 2021): 6-13.
“Peter Doig,” “Donald Judd,” Amor Mundi: The Collection of Margaret Steed Hoffman, ed. Gavin Delahunty, 2 vols. (London: Ridinghouse, 2022), 1:252-54, 408-10.
“Building a Legacy” (conversation with Caitlin Murray), Gagosian, Spring 2022, 104-05.
“Franz West, Untitled (Rosa Labstück), 1983,” Collaborations, ed. Heike Eipeldauer and Franz Thalmair (Cologne: Buchhandlung Walther und Franz König, 2022), 108-09.
“Cezanne’s Willful Drawing,” IFAR Journal 21 (2022): 31-42.
Foreword to Jiao Zheng, Chiang Embroidery Iconography (Beijing: Zhonghua Publishing, 2022), 1-3.
“Interview: Richard Shiff and Dan Ramirez,” in Dan Ramirez, Vertical Thoughts (Chicago: Zolla Lieberman, 2023), 39-49.
“Brice Marden (1938-2023), Burlington Contemporary, November 8, 2023, at https://contemporary.burlington.org.uk/articles/articles/brice-marden
