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1967 born in Pembury, United Kingdom
Lives and works in London, United Kingdom
Education
1986 - 1989 St. Martin's School of Art, London
Solo Exhibitions
2004 M-Project, Paris
2003 Children of the Projects, American Fine Arts, Co., New York
When in Doubt Blame the Victim, Galerie Bleich-Rossi, Graz (with Jeremy Glogan)
2002 The Making of !945, 1997, (screening) The McAllister Institute, New York
Militant, Galerie Christian Nagel, Köln.
2001 My Father, the Castaway, WhiteCube, Kunstakademi Bergen, Norway
2000 When You Drain the Pool, You Don't Consult the Frogs First, Magnani, London
Galerie Max Hetzler, Berlin
As a Painter I Call Myself the Estate of, Secession, Vienna
VOLVO, Galerie Bleich-Rossi, Graz
1999 Survivors, Galerie Christian Nagel, Cologne
1998 Doppelganger, The Top Room, London
Chant No 1, Galerie Max Hetzler, Berlin
1996 Friedrich Petzel Gallery, New York
1995 Voluntary Effort, Tom Solomon's Garage, Los Angeles
1994 Friedrich Petzel/Nina Borgmann, New York
1993 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. (Don't Be Late). (With Nils Norman), Galerie Z, Göttingen.
Les Jeunes, Bruno Brunnet Fine Arts, Berlin
1992 Meadow/Wiese, Galerie Max Hetzler, Cologne
1991 Electric, Pavillon Ryszard Varisella, organised by Galerie Grässlin-Ehrhardt, Frankfurt
To the extreme, Fettstrasse 7A (Birgit Küng), Zürich
1990 Crusade, Münzstrasse 10, Hamburg
Group Exhibitions
2003 Wild Nights: Remembering Colin de Land, CB's 313 Gallery, New York
Messe in der Galerie, Galerie Christian Nagel, Cologne
Frieze Art Fair, booth of Galerie Christian Nagel, London
Haupt- und Nebenwege, Galerie Christian Nagel, Cologne
Malerei II Ausstellung Nulldrei, Galerie Christian Nagel, Cologne
2002 Art Crazy Nation Show, MK G, Milton Keynes, UK
2001 Favoritin, Danzigerstr. 44, Berlin
Jewels-in-Art, Galerie Bleich-Rossi, Graz
Works on Aluminum Selected by Paper, WhiteCube, Kunstakademi Bergen, Norway
Musterkarte, Goethe-Institut, Centro Cultural Conde Duque, Galería Elba Benítez, Galería Heinrich Ehrhardt, Madrid
2000 Girlfriend, (Curated by Sarah Morris), Galerie für Zeitgenössiche Kunst, Leipzig
21st Gear, The Top Room, London
It May be a Year of Thirteen Moons But it's Still the Year of Culture, Transmission Gallery, Glasgow
Drawings, Taché-Lévy Gallery, Brussels
Part One, Magnani, London
1999 Painting Lab, Entwistle Gallery, London
Malerei, INIT Kunsthalle, Berlin
Robert Prime, London
Taché-Lévy Gallery, Brussels
1998 Art Club Berlin, Mies van der Rohe Pavilion, Barcelona
Art Club Berlin, Berlin Art Forum
1995 The Message is the Medium, Castle gallery, College of New Rochelle, New Rochelle
1994 The Ideal Place, Haags Centrum Voor Aktuelle Kunst, The Hague
Sarah Staton's Supastore Boutique, Laure Genillard Gallery, London
Untitled Group Show, Metro Pictures, New York
Sammlung Volkmann, Berlin
Museum auf Zeit, Fridericianum Museum, Kassel
1993 London Photo Race, Friesenwall 120, Cologne
Galerie Fettsack, Friesenwall 120, Cologne
1992 A Show by Kiron Khosla, The Long Gallery, Chelsea Old Town Hall, London
Bruno Brunnet Fine Arts, Berlin
1991 Paris Bar, Berlin
Luhring Augustine Gallery, New York
Fallen und Fallen Lassen, Galerie Bleich-Rossi, Graz
1990 Peace and anarchy & I love form but she doesn't love me & strange flowers & homage to Schnabel equals freedom and fun forever, 64-65 Guilford St., London
Heimspiel, Kunstverein in Hamburg
1989 Rotation - Art Critic's Art, Galerie Esther Schipper, Cologne
Bibliography
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.
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.
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