INDIVIDUAL EXHIBITIONS
2008
Solo Exhibition, Galeria Magda Bellotti, Madrid, Spain.
1999
‘Veil of Memory. Prologue: The Last Supper’, Metrònom, Barcelona, Spain.
1997
‘La Misma Tierra’, action in the Strait of Gibraltar, Almadraba Festival, Tarifa, Spain, Tangier, Morocco.
1996
‘A Rock and A Hard Place’, Installation, Three Rivers Art Festival, Pittsburgh, PA.
1994
‘Backseat’, Installation, Sculpture Center, New York, NY.**
1992
‘A Rock and A Hard Place’, Installation, The Whitney Museum of American Art, New York, NY.
‘T/ERROR’, ‘92 Winter Festival, Belo Horizonte, Brazil.
1990
‘When the World Was Flat’, Installation, Contemporary Arts Museum, Houston, Texas.
1982
‘The Albino Room'’, Installation, Anderson Gallery, Virginia Commonwealth University.,Richmond, Va.
‘Too Much Fast Food’, Installation, Joseloff Gallery, Hartford Art School, Conn.
1980
‘Slow Burn’, Installation, C Space, New York, NY.
‘People Who Live in Glass Houses...’, Installation, The Alternative Museum, New York.
‘Shadow Dance’, Installation, Freedman Gallery, Albright College, Reading, Pa.
1978
‘Double Exposure’, Installation, Project Studios 1 (P.S.1), L. I. City, N.Y.
1976
‘I'm Not Really Afraid of the Dark’, Installation, Galerie S:t Petrie, Lund, Sweden.
‘Fleeting Images’, Installation, 112 Greene Workshop, New York, NY.
Installation, Galeria Akumulatory 2, Poznan, Poland.
PUBLIC ACTIONS
2007
‘The Pothole Planting Project’ with Katie Holten, New York City.
‘The Pothole Proliferation Project’, New York City.
1997
‘La Misma Tierra (The Same Land)’, Strait of Gibraltar, Morocco and Spain.
SELECTED COLLECTIVE EXHIBITIONS
2008
5th Bangkok Experimental Film Festival (BEFF 5), Bangkok and elsewhere.
2007
Cine Casi Cine, Museo Nacional Centro de Arte, Reina Sofia, Madrid.
50,000 Beds Project, (with Pawel Wojtasik), Real Art Ways, Hartford,
Conn.
2007
‘trauma, interrupted’, Cultural Center of the Philippines (CCP), Manila.
‘Exquisite: Crisis and Encounters’, collaboration with Varsha Nair and Karla Sachse,
Asian/Pacific/American Institute, New York University, NY.
ARCO Madrid Art Fair, with Galeria Magda Bellotti.
2006
‘Sweet Art’, benefit for New Orleans artists, Bohen Foundation, New York, NY.
‘Moving Time: Homage to Nam June Paik’, Korean Cultural Service, New York, NY.
DIVA, Digital and Video Art Fair, New York, NY.
Loop Video Fair, Barcelona, Spain.
‘Cluster’, a project of Katie Holten, Participant Gallery, New York, NY.; Espacio el Particular, Mexico City, Mexico.
‘No Man’s Land’, web exihibition at www.womanifesto.com/en/event5/nomansland.asp
2005
‘Copilandia’, Sevilla Entre Culturas Festival, Centro de Arte de Sevilla, Spain.
“3 Cities Against the Wall: New York, Ramallah, Tel Aviv”, ABCNORIO, New York, NY., Tel Aviv, Hebron. **
‘Emap’, Art Festival, Ewha University, Seoul, Korea. **
DIVA, Digital and Video Art Fair, New York, NY.
Athens Video Festival, Athens. Ohio.
Athens Video Festival, Athens, Greece.
‘Cárcel de Amor’, Museo Nacional Centro de Arte, Reina Sofia, Madrid; Centro Párraga,
Murcia, Spain.
2004
Transacciones/Fadaiat, Castillo del Guzmán el Bueno, Tarifa, Spain.
2003
‘We Remember: Art and the Rosenbergs‘, The Puffin Room, New York, NY.
Tres Paralelos, Tres Meridianos’, El Almacen, Lanzarote, Spain. **
2002
‘Reactions to September 11th’, Exit Art, New York, NY.
2000
‘Historia Cosmopolita’, Casa de Moneda, Seville, Spain.
‘Postponed’, Refusalon, San Francisco, CA.
1999
‘Domesticated’, Refusalon, San Francisco, CA.
1998
‘Como Nos Vemos, Imágenes y arquetipos femeninos’, Tecla Sala, Barcelona/Círculo de
Bellas Artes, Madrid, Spain. **
‘Cosmopolitan History’, TransHudson Gallery, New York (also shown in Bulgaria and
France as part of Video Archaeology). **
1996
‘Chant for the Unsettled’, Transition/Dislocation: Images of Upheavel, Cleveland Center
for Contemporary Art, Cleveland, Ohio. **
1995
‘Cracovian Meetings’, Polish National Television, Cracow, Warsaw, etc., Poland.
1994
‘Multiple World: An International Survey of Artists’ Books’, The Atlanta College of Art
Gallery, Atlanta, Georgia. **
‘10,000 Plus’, Art Institute of Chicago, Chicago, Illinois.
1993
‘Book End and Odd Books’, Walter Phillips Gallery, The Banff Centre for the Arts,
Alberta, Canada.
1992
‘Beyond Glory: Re-presenting Terrorism’, Maryland Institute College of Art, MD.**
1991
‘El Sueño Imperativo’, Círculo de Bellas Artes, Madrid, Spain. **
'Artists of Conscience' The Alternative Museum, New York, NY. **
1990
‘Occupation and Resistance: American Impressions of the Intifada’, The Alternative
Museum, New York, NY.; Knight Gallery, Spirit Center for the Arts, Charlotte,
N.C., <1991> Mission Cultural Center, San Francisco, Ca. **
‘Construction in Process’, Lodz, Poland.
‘Subterranean Subjects’, Henry Street Settlement, New York, NY.
1989
‘Prisoners of Image’, The Alternative Museum, New York, NY.**
‘Signals’, Queensborough College Gallery, Queens, N.Y. **
1988
‘Unknown Secrets: Art and the Rosenberg Era’, Hillwood Gallery, C.W. Post College,
N.Y.; Mass. College. of Art, Boston and elsewhere. **
1987
ETC Symposium, Warsaw, Poland.
1986
‘The Embellishment of the Statue of Liberty’, Barneys NY, New York, NY.
‘Women Video Artists from the U.S.’, Kunsthaus, Nuremberg, Germany.
1984
‘Indigestion’, P.P.O.W. Gallery, New York, NY.
‘Disinformation’, The Alternative Museum, New York, NY.**
1983
‘Film as Installation II’, The Clocktower, New York, NY.**
1982
Artist's Toys, Museu de Joçs, Figueras, Spain. **
1981
‘Messages’, Albright College, Reading, Pa.; Anderson Gall., V.C.U.,Richmond, Va.
‘Schemes’, Elise Meyer, Inc., New York, NY.**; Herbert F. Johnson Museum of
Art, Cornell University, Ithaca, N.Y.; Rhode Island School of Design, Providence, R.I.; Museum of Contemporary Art, Montreal, Canada. **
1980
Mask Show, Galleria Dei Bibliofili, Milan, Italy.
‘Vigilance’, Franklin Furnace, New York, NY.**
Inaugural Exhibition, Metronom, Barcelona, Spain.
1979
‘Small is Beautiful’, Freedman Gallery, Albright College., Reading, Pa., and elsewhere.
Small Works, Galleriet, Stockholm, Sweden.
1978
‘Difficult Decisions/Ethical Dilemmas’, University of Minnesota, Duluth.
1977
‘10 Minutes’, Centre Culturel de la Maison de L'etudiant, Paris, France.
‘Works to Be Destroyed’, West Side Highway, New York, NY.
‘A Small Self-Portrait’, Art Core Gallery, Kyoto; Osaka Prefectural Gallery, Osaka; West
Bes Gallery, Nagoya, Japan.
1975
‘25 Years to 2000’, N.A.M.E. Gallery, Chicago, Illinois.
‘30 Artists Will Be. . .’, Burpee Art Museum, Rockford, Illinois.
‘Lives’, Fine Arts Building, New York, NY.**
** Catalogue
SELECTED BIBLIOGRAPHY
ARTICLES AND REVIEWS
Ahlberg, Brian. Review, “On Art and the Rosenberg Era”, Artpaper, Volume 8, No. 5, Minneapolis, Minn., January, 1989.
Bard, Perry, “Negotiating Time: DIVA Art Fair”, Afterimage, May-June 2005, Vol. 32, No. 6, p. 14-15.
Biscarri, I.. Review, "El Sueño Imperative: Arte Radical", El Dia, Zaragoza, Spain, February 3, 1991.
Bosco, Roberta. Review, “El viaje de la memoria”, El Periodico del Arte, Madrid, November 1999, p. 20.
Boyle, Wickham. Review, “The Rosenbergs and the Post-9/11Era”, Downtown Express, New York, July 1-7, 2003, p. 26.
Buitrago, Rocío. Article, “Terry Berkowitz: Mis obras son collages de gran tamaño y en cuatro dimensiones (My works are large scale collages in three dimensions)”, El Correo de Andalucia, June 11, 1997, p. 50.
Cantor, Judy. Review, “El Sueño Imperativo”, Art News, May, 1991, p. 164.
Cramer, Sue. Review, “Report From Poland, Back to the Future”, Art in America, March 1991, pp. 65-71.
Frank, Peter. Review, Village Voice, New York, NY.**, May, 1978.
Hess, Elizabeth. “Presumed Guilty”, review, Village Voice, September 27, 1988, pp. 99-100.
Jun, Mizukami. FAIN, IQ Issue No. 2, Nagoya, Japan, 1977.
Levin, Kim, Voice Choice, Village Voice, May 24, 1994, p. 71.
Martínez Ribas, Inés. Review, “La Veu del sefardites de La Diáspora”, Avui, Barcelona, Spain, October 8, 1999, p. 25.
Murphy, Jay. Review, Tema Celeste, New York, NY.**, Autumn 1992, p. 94.
Nonas, Richard. Review, “Construction in Process”,Tema Celeste, March-April 1991, pp. 91-92.
Paoletti, John T. Review, “At the Edge Where Art Becomes Media and Message Becomes Polemic: Disinformation at the Alternative Museum”, Arts Magazine, May, 1985.
Peris, Pedro. Article, “Arte e Actitude”, O Tempo, Saõ Paulo, Brazil, July 13, 2003.
Pincus, Robert L. Review, “Images of Beauty, Beastliness”, Cleveland Plain Dealer, December 1997, pp. 1E, 6E.
Princenthal, Nancy. Review, Artist’s Book Beat, The Print Collector’s Newsletter, Vol. XXII, No. 1, March-April, 1992, p. 30.
Rand, Carol. Review, “Future Histories: The Impact of Changing Technology”, New Art Examiner, Vol.13, No.7, March 1985, p. 55.
Rice, Shelley. Review, Art Forum, New York, NY.**, December, 1980.
“Photographic Installation: An Overview”, SF Camerawork, Volume 12, No. 1, San Francisco, Ca., Spring 1985, pp. 4-5.
Sargent Wooster, Ann. Review, “Manhattan Shortcuts”, AfterImage, Volume13, No.1 and 2, Rochester, N.Y., Summer 1985, pp. 35-36.
Salisbury, Stephan. Review, “The Rosenberg Case Turned into Art”, The Philadelphia Inquirer, March 26, 1989.
Serra, Catalina. Review, “20 creadoras se sirven del humor, el drama y el sexo para analizar los arquetipos femeninos”, El Pais, Barcelona, Spain, January 23, 1998, p. 34.
Tishken, Keith. Review, “The Terror of Thoughts”, Art in Progress, Baltimore, Maryland, Feb. 25, 1992.
Vidal, Jaume, Review, “El mecenas Rafael Tous ofrece de nuevo Metronom...”, El País, Barcelona, Spain, October 1, 1999, p. 16.
Wall, Tim. Review, “Messages about the Media”, The Guardian, April 3, 1985.
Wachunas, Tom. Review, “Witnesses to Oppression”, Downtown, No. 200, New York, June 20,1990, pg. 14-A.
ARTIST’S PUBLICATIONS
Blood Stone, limited edition artist book, Contemporary Arts Museum, Houston, Texas, 1991. |