Emerits Professor University of California practising arts. Dealer Ronald Feldman Fine Art Mercer Street New York.file://localhost/Users/Conrad/Desktop/resume:pr/Resume%20recent.doc
RONALD FELDMAN FINE ARTS 31 Mercer Street, New, New York 10013 www.feldmangallery.com
CONRAD ATKINSON IS REPRESENTED BY RONALD FELDMAN FINE ART NEW YORK
Since 1992 Professor of Art and Chair Dept of Art and Art History University of California at Davis . Currently Professor Emeritus. 2002 Distinguished Visiting Professor/Artist in Residence Courtauld Institute, London University. Honorary Fellow Cumbria University UK. Churchill Fellow 1972
1940 Born, Cleator Moor, West Cumbria, England
1967 Associate Design Fellow Manchester College of Art (Manchester Metropolitan University)
1965 Royal Academy Schools, London, RAS (Honors), Painting & Drawing
1962 Liverpool College of Art, ATD (Distinction)
1961 Carlisle College of Art, NDD.Painting (special).
2012 Florence Arts Centre Drawings for Monument to Miners.
2011 South Square Gallery Thornton (Bronte Birthplace) Dreams of Permanence: Hopes of Transience.
2009 Helena Thomson Museum Workington Conrad Atkinson works from the Fifties.
2007 CONRAD ATKINSON: Thirty Years: drawings, prints, collages and photographs. Feldman Fine Art New York.
2007 “Some Wounds Healing Some Birds Singing” Royal Opera House Belfast (Catalogue)
2005 Wordsworth Trust Gallery UK. FOR ROBERT
2004 Ronald Feldman Fine Arts, New York, NY, Collaborations, December 2 – 24.
2003 3°W Gallery, Grasmere, Cumbria, United Kingdom, Common Sights,
November 10 – February 28, 2004. (catalogue).
White Box, New York, NY, Constantly Contesting, March 1—April 5, and travel to: Bannister Gallery, Rhode Island College, Providence, RI, October 2 – 24; Opalka Gallery, Albany, NY, January 26 – February 29, 2004.
Ronald Feldman Fine Arts, New York, NY, Window Installation, March 1 – April 5.
2002 Wolverhampton Art Gallery, Wolverhampton, England, Conrad Atkinson: Door to Cultures, September 28-November 9, 2002.
Courtauld Institute Gallery, Strand, London, Excavated Mutilations: New Work by Conrad Atkinson, October 25, 2002-January 19, 2003; White Box Gallery, New York, NY, March 2003.
Abbot Hall Art Gallery, Kendal Cumbria, Conrad Atkinson – Twenty Years: Ethical Viruses, October 14-December 22. (catalogue)
Intersection for the Arts, San Francisco, CA, Surplus: Cocktail Party, April 12-May 20.
1999 Liverpool City Museum, Liverpool, England, installation for First Liverpool Biennial.
Walker Art Gallery, Liverpool Mining Arts, Liverpool, England (installation throughout collection).
Bluecoats Gallery, Liverpool, England, Mining Culture.
1998 The Atlanta College of Art Gallery, Atlanta, GA, Mining Culture in Technicolor, January 30 - March 15.
High Museum, Atlanta, GA, Interventions in the Gallery Space, January 30-March 15.
1997 Ronald Feldman Fine Arts, New York, NY, Dorothy Gale Meets Emily Bronte in Technicolor, June 7- July 11.
West Cumbria College, West Cumbria, England, Mining Culture.
1996 Tullie House Museum & Art Gallery, Carlisle, England, Transient, June 14-July 21.
Euston Station (Underground Gallery), London, England.
1995 Matrix University Art Museum, University of California, Berkeley, CA, Conrad Atkinson: Dorothy, Jack, Theodore, Diego and a Horse of a Different Color, October 4-December 31.
Gallery Paule Anglim, San Francisco, CA, Object, April 5-April 29.
1994 Ruth Bloom Gallery, Los Angeles, CA.
1993 ICA, Moscow, Russia, Newsfiles.
Richard L. Nelson Gallery, University of California, Davis, Conrad Atkinson – Selected Works, January 24-March 12 (catalogue); Mandeville Gallery, University of California, San Diego, May 1-June 13.
The Henry Moore Sculpture Trust Studio, Halifax, England, For Emily: New Works Made at the Henry Moore Sculpture Trust Studio, October 16-December 20.
Cartwright Hall, Bradford, West Yorkshire, September.
Brandford City Art Gallery, Zones of Gold.
1990 Solo Gallery, New York. Good Sports: Tales of New York, September 13-October 13.
Exhibition Hall at Avtozavodskaya in Moscow, with Andrej Monastyrskij, July 4.
Anne Berthoud Gallery, London, England, February 7-March 10.
1989 Victoria and Albert Museum, London, Newspaper Works, April.
Ronald Feldman Fine Arts, New York, NY. Front Pages, January 7-February 4.
1988 Interim Art, London.
Cleator Moor Town Council, Cumbria. The Miners' Monument, commission, installed January.
1987 Talbot Rice Art Centre, Edinburgh. Scotland
London Underground Posterworks, commissioned by Art Angel Trust, Newcastle-on-Thyme.
Posterworks, commissioned by Project UK.
Known Billboards, London and Sheffield.
1985 Anna Leonowens Gallery, Halifax, Nova Scotia.
Mercer Union, Toronto, Canada.
Ronald Feldman Fine Arts, New York, NY, Goldfish, November 23-December 28.
1983 Touring Show Australia: Sydney, Melbourne, Hobart, Brisbane, Adelaide, Perth, Newcastle.
Power Gallery, Australia.
Roslyn Oxley Gallery, Sydney.
1982 Frank Watters Gallery, Sydney.
Ronald Feldman Fine Arts, New York, NY, Separate Peaces, April 24-June 5.
1981 ICA, London. At the Heart of the Matter.
1980 Project Arts Centre, Dublin, Three Pieces for Dublin.
Pentonville Gallery, London, Graphics.
Carlisle Museum and Art Gallery, and tour 1975-80, Conrad Atkinson: Selected Works About the North.
1979 Ronald Feldman Fine Arts, New York, NY, Material-Six Works, September 15-October 20.
1977 Northern Arts Gallery, Newcastle-upon-Tyne, Approaching Reality.
1976 Art Net, London and Midland Group Gallery, Nottingham, Northern Ireland 1968, Mayday.
1975 Arts Council of Northern Ireland Gallery, Belfast, A Shade of Green, an Orange Edge.
1974 ICA, London, Northern Arts Gallery, Newcastle, Work, Wages and Prices.
1972 ICA, London, Strike at Brannans.
1949 Cleator Moor Town Hall. Watercolours
SELECTED GROUP EXHIBITIONS
2012 Telephone Booth Gallery Kansas City
2012 ICA Industrial Relations Act.
2012 Sequoia Tees Amsterdam
2012 DB12 (Dallas Biennial) Volume 2
2012 Wigton Open (Invited)
2012 ARTERY 1971-1984 London
2011 Victoria and Albert Museum Print Show
2011 Golden Thread Gallery Belfast NI
2011 University of Herts UK
2011 Florence Mine UK
2011 Honored Guest Wigton Open Cumbria.
2011 Personal Tempest Neue Galerie Innsbruck Austria
2011 Number 11 Downing Street: Financial Times and Wall Street Journal
2011 Art For whom? Tate Gallery London
2010 CreditCrunch. York City UK.
2010 Resurrectine Ronald Feldman Fine Art NYC
2010 Intersection For The Arts San Francisco
2010 Wallpaper Show Whitworth Art Gallery Manchester
2010 The Armory Show NYC
2008 The Drawing Show. Ronald Feldman Fine Art NYC
2008 Sainsbury Center ART SPACE PLACE.
2008 Printmakers at Solo press
2008 Words by The water. Theatre by The Lake. Keswick UK
2007 'Mapping the Imagination’ V and A Museum London
2007 Conrad Atkinson: Northern Ireland. Wolverhampton City Art Gallery
2006 Dorsky Gallery, Long Island City, NY, Threads of Memory, February 5 – April 17.
2005 Salt Lake Art Center The Daily News February 5-June 1.
2005 The Hebrew Home at Riverdale, The Elma & Milton A. Gilbert Pavilion, Riverdale, NY, Words & Images, December 19, 2005 – January 31, 2006.
National Glass Centre, Sunderland, England, Wheel and Water Grind an Edge, July 5 – October 2.
Intersection for the Arts, San Francisco, CA, Blueprints: Intersection’s 40th Anniversary Exhibition, June 18 – July 30.
Tate Britain, London, England, A Picture of Britain, June 15 – September 4.
Galerie im Taxispalais, Innsbruck, Austria, Work/labor, June 4 – August 14.
Chelsea Art Museum, New York, NY, Here Comes the Bogey-Man, June 2 – September 24.
Salt Lake Art Center, Salt Lake City, UT, Daily News, February 5 – June 1, and travel to: Nicolaysen Art Museum, Casper, WY, July 1 – September 1; Boise Art Museum, Boise, ID, December 17 – March 19.
2004 PaceWildenstein, New York, NY, Art for a Landmind Free World, October
Beverly Hills Hilton, Los Angeles, CA, Auction for Landmines Campaign.
2003 Intersection for the Arts, San Francisco, CA, The State or Art.
2002 Wolverhampton City Art Gallery, England, Strike.
2000 The Lab, San Francisco, CA, Benefit Show, March 6 – 19.
National Gallery, Lisbon, Portugal, Live in Your Head.
Ferens Art Gallery, Hull, England, In Print. (catalogue)
University of Stockholm, Konstfak, Sweden, The Watercloset Workshop and travel to: Gustavsburg Museum, Sweden; Rohsska Museum, Gothenburg, Sweden, 2001; Technicens Hus, Sweden, 2002; Hatton Gallery, University of Newcastle, November 16, 2002 – January 11, 2003.
Bluetit Gallery, Newcastle, England, Willow Pattern Show.
Whitechapel Art Gallery, London, England, Live in Your Head Art 1965/1975.
1999 St. Georges Hall, Liverpool, England, The Liverpool Biennial of Contemporary Art 1999, September 24 – November 7.
Collins Gallery, Glasgow, Scotland, The Plate Show. (catalogue)
Leeds University Gallery, Leeds, England, Degree Show. (catalogue)
1998 Works in Ceramic, and travel to: Kecskemet, Hungary and Budapest, Hungary.
Elvis and Marilyn: 2X Immortal; touring Southeast Asia. (catalogue)
Walsall Museum and Art, Walsall, England, Fanasty Football Art League.
HOTP2, Budapest, Hungary, Ceramic Works.
RL Nelson Gallery, Davis, California, Works on Paper.
1997 The Very Special Art Gallery, Washington, DC, U.S. Campaign to Ban Land Mines, November 17-November 21.
1996 Centre Georges Pompidou, Paris, France, Face à l'Histoire, December 19,1996-July 4, 1997.
Duke University Museum of Art, Durham, NC, Fractured Fairy Tales, April 12-May 25. (catalogue)
The X-Art Foundation, New York, NY, Blast Art Benefit, February 6-February 10.
Ronald Feldman Fine Arts, New York, NY, Withdrawing, January 13-February 17.
Carlisle City Art Gallery, England, Hot off the Press, and travel to: Crafts Council Gallery, London, England. (catalogue)
Peacock Gallery, Aberdeen, Scotland, Ten Years Printmaking.
British Council Gallery, Manchester, England, Common Ground.
Abbott Hall Art Gallery, Kendall, England, Drawings for the Miners Monument.
Shasta College Art Gallery, Redding, CA, Art at UC Davis.
Barbican Gallery, London, England, Landscape.
1995 Lehman College Art Gallery, Bronx, NY, The Art of Justice, Part II, August 1-October 27.
Richard L. Nelson Gallery, University of California, Davis, CA, The 2nd Annual Artists' Valentines, January 30-February 11.
Barbican Gallery, London, England, Parish Maps.
Victoria and Albert Museum, London, England, Works on Paper.
1994 Institute of Contemporary Art, Boston, MA, Elvis + Marilyn, 2 X Immortal, organized by Dennis Barrie & Associates, November 2, 1994-January 8, 1995, and travel to: Contemporary Art Museum, Houston, TX, February 4-March 26; Mint Museum of Art, Charlotte, NC, April 15-June 30; Cleveland Museum of Art, Cleveland, OH, August 2-September 23; Jacksonville Art Museum, Jacksonville, FL; Portland Art Museum, Portland, OR; Philbrook Academy, Tulsa, OK, April 13-June 3; Columbus Museum of Art, Columbus, OH, June 22-August 19; Tennessee State Museum, Nashville, TN, September 7-November 3; San Jose Museum of Art, San Jose, CA, November 23-January 30, 1997; Honolulu Academy of Art, Honolulu, HI, April 16-June 8, 1997.
Capp Street Project, San Francisco, CA, Flags for the Year 2000.
The College of Wooster Art Museum, Wooster, OH, Prints from Solo Impression, Inc., August 24-October 9.
Tate Gallery, Liverpool, England, Moral Tales: Reading the 1980s, March-December 1994.
1993 Richard Nelson Gallery.
1992 Frankel Nathanson Gallery, Maplewood, NJ, Prints, November 14-December 5.
1990 Jane Voorhees Zimmerli Art Museum, Rutgers State University, New Brunswick, NJ, Intaglio Printing in the 1980's, December 9-February 24, 1991.
Projects UK & Glasgow District Council, Glasgow, The Flag Project, (organized by Force 10), September 19-December 19. (brochure)
Moscow, U.S.S.R., Club of Avantguardists. (catalogue)
Carnegie Mellon Art Gallery, Pittsburgh, PA, Art Faculty Exhibition, January 14-February 4.
1988 Cartwright Hall, Bradford, West Yorkshire, England, The BP British InternationalPrint Biennale, April 30-June 26, and to travel to: seven venues ending late 1989.
1987 Photographers Gallery, London, England.
Edinburgh University, Scotland.
Victoria and Albert Museum, London, England.
Ecology Centre, London, England.
PPOW, New York, NY.
1986 White Columns, New York, NY.
St. Martins School of Art Gallery.
Laing Art Gallery, Newcastle, England.
Brewery Arts Centre, Kendal, England.
Maryland Institute, College of Art, Baltimore, MD, Artists and Social Commitment.
The Kitchen, New York, NY, Arts and Leisure.
1985 Group Material tour of the USA.
John Nicohls Gallery, New York, NY, Prints.
Ecology Centre, London, England, Common Ground.
Makkom, Amsterdam, The Netherlands.
Ikon Gallery, Birmingham, England, Hand Signals.
Victoria and Albert Museum, London, England, New Acquisitions.
1984 Victoria and Albert Museum, London, England, Landscapes.
The Hirshhorn Museum and Sculpture Garden, Washington, DC, Content. (catalogue)
Walter Phillips Gallery, Banff, Social Spaces.
National Gallery, Canberra, Australian Prints.
Camden Arts Centre, London, 1984.
1983 Art Institute, Chicago, IL.
Ronald Feldman Fine Arts, New York, NY, 1984, January 26-March 12. (catalogue)
Camden Arts Centre, London, England, Quarries.
Pentonville Gallery, London, England, New Beginnings.
1982 Artists Against Apartheid, London, England.
Serpentine Gallery, London, England, Contemporary Art Society Purchase Exhibition.
Ronald Feldman Fine Arts, New York, NY, War Games, February 27-April 17.
Ronald Feldman Fine Arts, New York, NY, The Atomic Salon, in collaboration with The Village Voice, June 9-July 2.
The Tate Gallery, London, England, The Art Record, published by Ronald Feldman Fine Arts.
1981 Acme Gallery, London, England, Artists Against Nuclear War.
Tate Gallery, London, England, Landscapes.
1980 Victoria and Albert Museum, London, England, Photography into Print.
Cockpit Gallery, London, England, Bringing It Home.
The Hirshhorn Museum and Sculpture Gallery, Washington, DC, Directions 4.
Albright Knox Art Gallery, Buffalo, NY, Messages.
1979 Liverpool, England, The Craft of Art, November 3-February 3.
Musee d'Art Moderne, Paris, France, Un Certain Art Anglais.
1978 Art Net, London, England, Radical Attitudes Towards The Gallery.
Serpentine Gallery, London, England, Arts Council of Great Britain, Art for Whom?
Whitechapel Art Gallery, London and the Arts Council of Northern Ireland
Gallery, Belfast, Art for Society.
1975 Musee d'Art Moderne, Paris, France, Bienale de Paris.
1974 Royal College of Art, London, England, Solidarity with Chile.
1973 Tooth Gallery, London, England, Critic's Choice.
1971 Alexandra Palace, London, England, Arts Council of Great Britain, Arts Spectrum.
1970 Sigi Krauss Gallery, London, England, Garbage Strike.(Fluxus)
1968 Royal Academy London, England, Royal Academy Bicentenary.
1967 Manchester City Art Gallery, Two Painters.
1965 City Art Gallery, Middlesborough, Northern Young Artists. Second painting prize
1963-85 RBA Gallery, London, England, Young Contemporaries.
1962 London Group Mall Galleries, London, England.
Royal Academy Summer Exhibition, London, England.
Writings by the Artist
Essay for Cumbria open Studios Brochure
Contribution to Jarrow and Wearmouth Monasteries application for World Heritage Status
"1984 In the Light of Guernica." Nineteen Eighty-Four. New York, NY: Ronald Feldman Fine Arts, 1984.
"Art and Ideology." Audio Arts, 1977.
"The Art of the State, the state of the art." LIP and Block.
"Capitalist Realism or Socialism in One Person." Skira Annual, 1977.
Conrad Atkinson- Twenty Years: Ethical Viruses (catalogue essay). Kendal, England: Abbott Hall Art Gallery, 2000.
“Challenging the Status Quo.” The Year of the Visual Arts (catalogue essay), 1996.
"Desires of Permanence: Dreams of Transience." Wave/Another Country: Irish Exile and Dispossession. Ireland: Huddersfield Art Gallery, 1991.
IN PRINT (catalogue essay). Unique reproduction, 2001.
"John Lennon." Art Monthly (April 1980).
"Lost Horizons." Art and Artists (January 1973).
"Newcastle Writings." May 1977.
"On Practice." Artists on Art. Edited by Rudolf Baranik. Readers and Writers, 1986.
"The only man who ever brought work to Cleator Moor was Adolph Hitler." RadioTimes (October 1981).
"Passive Action/Active Passion." Artforum (September 1980).
"Polemic." Art Monthly, 1978.
"Shamrocks" in "Truth: The first casualty: the British Media and Northern Ireland."
Campaign for Free Speech on Ireland, 1979.
"State of the Art: the Art of the State." Published as hand colored pamphlet by Working Press, London.
Steve Dixon retrospective, catalogue essay. Manchester City, Manchester, England: Manchester City Art Gallery, 2005.
"Success." Artists Newsletter (November 1994): 3, 9.
2012 Daily Mail (online)
2012 The Independent UK
2012 Cumberland News
2012 Belfast BBC
2012 Dublin BBC
2011 Cumbria Radio
2011 Ulster Radio
2011 BBC TV Belfast Hearts and Minds.
2011 Cumberland News
2011 Belfast Telegraph
2011 Yorkshire radio
2008 Border TV Local Heroes
2007 BBC Cumbria morning show.
2007 Ulster TV
2003 Border TV
2000 BBC North
“Four Northern Museums,” Granada TV, England.
“Look North,” Border TV Interview.
1998 “Resistance to change,” Border TV News.
1997 “Conrad Atkinson and Landmines,” Border TV News.
1996 BBC News (interview in installation).
“Cultural Policies in the Nineties,” PBS and UC Washington presenter, co producer and host of panel discussion with John Frohnmayer, ex head of NEA; Elizabeth Hess, Village Voice; Kathy Vargas, Director San Antonio Arts Center; Marthe Bayles, Wall Street Journal.
Independent TV production for Channel Four and Border TV, Euston Project (four artists), 60 minutes.
Lookaround Border TV.
“Year of the Visual Arts,” BBC.
1994 PBS Panel: Cultural Policies in the Nineties.
1990 Appeared on "01", London, Channel 4.
1980 "Conrad Atkinson: Art Worker." Produced by Jim Mappleback, BBC.
1981-82 Conrad Atkinson." Produced by Peter West, BBC.
Selected Magazine and Newspaper Articles
2013 Conrads Drawing Nuclear Dump News and Star (and editorial)
2012 Conrad Atkinson Portrait Gerry Adams Daily Mail/Irish Times Belfast Newsletter/Cumberland News
2012 Conrad Atkinson Belfast Wallpaper Cumberland News
2012 Conrad Atkinson Cumberland News (Lady Gaga)
2009 Conrad Atkinson Cumbria Life
2008 Cumberland News Atkinson and Tyson at Tullie House
2008 Conrad Atkinson Andersonstown News Northern Ireland
2008 Conrad Atkinson Irish Echo New York
2007 Arts watching The Belfast Telegraph
2007 Artist of the Troubles The Sunday Times
2006 Landi, Ann. “Thread of Memory.” ARTnews 105, no.5 (May 2006): 167.
2005 Karras, Christy. “Talking back to your newspaper.” The Salt Lake Tribune, Sunday, February 13, 2005.
Lentini, Lara Kristin. “New York.” ART PAPERS MagazineI 29, No. 6 (November/December 2005): 53-54.
Poore, Ann. “Fit to Print.” City Weekly, February 3, 2005, p.2.
Simpson, Joel. “Conrad Atkinson.” M The New York Art World, January 2005, pp. 12-13.
Tierney, Eric J. “The Art of the News.” Salt Lake Metro, March 3, 2005, p. 20.
Tramposch, Emma. “San Francisco.” ART PAPERS Magazine 29, no. 6(November/December 2005): 60-61.
2004 Brickman, David. “The Political is Provocative.” Metroland, February 12 – 18, 2004, p. 36.
Levin, Kim. “Voice Choices.” The Village Voice, December 22-28, 2004, p. 77.
New York Magazine, December 13, 2004, p.114.
Time Out New York, no. 480, December 9-15, 2004, p. 68.
“Unusual design choice for Gazette.” HoldtheFrontPage.co.uk March 17, 2004.
“Wordsworth’s Successor as…King of Controversy.” The Westmorland Gazette, Friday, March 12, 2004, p. V.
2003 Cambell-Johnstone, Rachel. “The best shows nationwide.” The London Times, Sunday, January 3, 2003.
Cameron, Dan. “Group Material Talks to Dan Cameron.” Artforum XLI, no. 8 (April 2003): 198-9, 253.
Gilmore, Jonathan. “Conrad Atkinson at White Box.” Art in America no. 10 (October 2003): 127, 129.
Hudek, Antony. “Excavating the Body Politic: An Interview with Conrad Atkinson.” Art Journal 62, no. 2 (Summer 2003): 4-21.
Philips, Patricia C. “In This Issue: At Last We Can No Longer Predict the Future.” Art Journal 62, no. 2 (Summer 2003): 3.
Rodriguez, Bill. “Expressions.” The Providence Phoenix, September 19, 2003, p. 8.
2000 Berk, Amy. “Conrad Atkinson at Intersection for the Arts.” Artweek 31 (June 2000).
Coleman, Sarah. “Secondhand second thoughts.” Guardian 34, no. 31, May 3-9.
Cork, Richard. “Courtauld and New.” The London Times, November 5, 2002.
Martins, John. “Professor showcases art in San Francisco.” The California Aggie 119, no. 81 (May 15, 2000).
Roche, Harry. “Surplus: Cocktail Party.” bayarea.citysearch.com, April 14, 2000 www.bayarea.citysearch.com.
Searle, Adrian. “Slice of book, anyone?” The Guardian, February 8, 2000, p. 14.
Wilson, Andrew. “Everything and Nothing.” Art Monthly, no. 234 (March 2000): 1-5.
“Conrad Atkinson: Ethical Viruses.” Westmoreland Gazette.
1998 Cochran, Rebecca. “An Interview with Conrad Atkinson: From the Political to the Popular.” Sculpture 17, no. 7 (September 1998): 30-35.
1997 Feaster, Felicia. "Conrad Atkinson at Ronald Feldman." Art in America 85, no. 11 (November 1997): 131.
Levin, Kim. "Voice Choices." The Village Voice, June 10, 1997, p. 14.
Rifkin, Adrian. “Face a L’Histoire.” Artforum, (April 1997).
1996 Grausman, Jennifer, Andrew Lohr and Lisa Pasquariello. "From Work to Text and Back Again." Fractured Fairy Tales, Duke University Museum of Art, Durham, NC, 1996, pp. 13-19.
Grausman, Jennifer, Andrew Lohr and Lisa Pasquariello. "Telephone Interview with Conrad Atkinson: February 5, 1996." Fractured Fairy Tales, Duke University Museum of Art, Durham, NC, 1996, pp. 73-74.
1995 Plagens, Peter. "New Museum by the Bay." Newsweek CXXV, no. 5, January 30, 1995, p. 60.
Shackelford, Penelope. "Conrad Atkinson's Tactical Art." Art Papers 19, no. 1 (January & February 1995): 25-30.
1994 Goldberg, Vicki. "A Pair of Saints Who Refuse to Stay Dead." The New York Times, December 18,1994, p. 49.
1993 Johnson, Holly. "Clear on the conceptual." The Sacramento Bee, Sunday, February 7, 1993, pp. 11-12.
Kimmelman, Michael. "Of Candy Bars and Public Art." The New York Times, September 26, 1993, pp. 1, 43.
Pincus, Robert L. "Artist gets inspiration from a news muse." Night & Day, May 13, 1993, pp. 48-40.
Shackelford, Penny. "Atkinson brings flair to UCD." The Davis Enterprise Weekend, Thursday, February 4, 1993, pp. 6-7.
1991 Kuspit, Donald. "Tart Wit, Wise Humour." Artforum XXIX, no. 5 (January 1991): 93-100.
New Observations 82 (February 15-March 14): cover illustration.
Tupitsyn, Margarita & Victor. Contemporanea 24 (January 1991): 106-7.
1990 Bray, Matthew. "Strokes from a Polemical Paintbrush." The European, July 14, 1990.
"Conrad Atkinson." Print Collector's Newsletter XXI, no. 1 (March/April 1990).
Dhombres, Dominique. "Les Faceties d'un Detourneur." Le Monde, March 4, 1990.
Kovalevf, Andrei. "Conceptualists of the World, Unite!" Moscow News Weekly, no. 31, 1990, p.15.
1989 "Conrad Atkinson's Front Pages." Sunstorm (February/March, 1989).
Cooper, Emmanuel. "Conrad Atkinson." Time Out, no. 993 (August 30-September 6, 1989): 33.
"Front Page." Art in America 77, no. 6 (June, 1989): 39, 41.
Heartney, Eleanor. "Conrad Atkinson at Ronald Feldman Fine Arts." Art in America 77, no. 6 (June 1989): 165-66.
Hess, Elizabeth. "'Art Critic Says No to Supreme Court Decision'." The Village Voice XXXIII, no. 6, February 7, 1989, p. 85.
Loughery, John. "Conrad Atkinson." The New Art Examiner (April, 1989).
Morgan, Robert. Arts Magazine (April 1898).
1988 Cregan, David. "In the Throes of Culture." Weekend Guardian, December 3-4, 1988.
Currah, Mark. "Conrad Atkinson." Time Out, 1988.
"Hand in the Hand." Whitehaven News, June 1988.
Kinnes, Sally. "Making Political Marks." The Scotsman, 1988.
McNay, Michael. "The Art of Information." The Guardian, November 19, 1988 (features full page reproduction of Daily Consumernica).
"Prints & Photographs Published." Print Collector's Newsletter (July-August 1988).
Summers, Beth. "Phew What a Scorcher!" i-D The Good, 1988.
Wombell, Paul. "A World's Waste." "In Opposition." Ten 8, no. 26.
1987 "Around London." Daily News, March 6, 1987.
"Arts Review." The New Statesman, May 28, 1987, p. 30.
Bain, Alice. "Read All About It." The List, May 19-June 11, 1987.
Bennett, Oliver. "Art in the City: The Big Bang." Performance (March/April 1987).
"Conrad Atkinson." Direction, March 1987.
Ellis, Mundy. "Cultural pretensions mocked on Tube." Creative Review, March 1987.
Henry, Clare. "Opening Eyes to those bent on destruction." Glasgow Herald, May 22, 1987.
Hilliard, Elizabeth. "The Artangel Trust." Arts Review, March 27, 1987.
Januszczak, Waldemar. The Guardian, May 29, 1987.
Jaques, Richard. "Unlikely but likeable bedfellows." The Scotsman, May 25, 1987.
_____. "Raising Politics to a Fine Art." The Scotsman, February 18, 1987.
Kuspit, Donald. "Conrad Atkinson: Critical Practice 'In Person'." ALBA (Summer 1987).
Lottman, Joachim. "Documenta-Eindrucke vor der Eroffnung." Wolkenkratzer Art Journal (Summer 1987).
MacLeod, Donald. "Building a Future for Art." The Scotsman, February 18, 1987.
Sands, Sarah. "Hitting the Headlines." Evening Standard, March 17, 1987.
Whetstone, David. "Art Can Be Fun Too." The Journal, July 24, 1987.
1986 Cameron, Dan. "Report from the Front." Arts Magazine (Summer 1986):86-93.
Cooper, Emmanuel. "The Enemy Within." Art & Artists (July 1986).
Garson, George. "Moving in--with art." Evening News, December 1986.
Handy, Ellen. Arts Magazine (February 1986).
1985 Checkland, Sarah Jane. "Portrait of the artist as a resident exile." The London Times, December 27, 1985.
Print Collector's Newsletter XVI, no. 5 (November-December 1985).
Raynor, Vivien. The New York Times, December 20, 1985.
Thorson, Alice. "Hirshhorn's Content Swamps Issues." New Art Examiner (February).
Townsend-Gault, Charlotte. "Conrad Atkinson." Parachute (March-April-May 1985).
1984 Kearns, Jerry and Lucy Lippard. "Artists Working with Unions Union Made." Upfront (Winter 1983-84).
Raynor, Vivien. "'Protest Art' at the Thorpe Intermedia." The New York Times, February 19, 1984.
1983 Metz, Holly. "Conrad Atkinson." Sanity Magazine (February-March 1982).
Richards, Margaret. "Radical Challenging." Tribune, December 1981.
Rose, Cynthia. "Conrad Atkinson." The New Musical Express (December 1981).
Walker, John. "Art In the Age of Mass Media."
1981 Brett, Guy. "At the Heart of the Matter." City Limits, 27 November 1981.
Petzal, Monica. "Conrad Atkinson." Time Out (November 1981).
Hughes, Robert. "Quirks, Clamors and Variety." Time (March 2, 1981): 84-86.
Januszek, Waldemar. "Conrad Atkinson: The Art of the Matter." The Guardian, 1981.
Rickey, Carrie. "Curatorial Conceptions." Artforum, 1981.
1980 Cardozo, Judith. "Conrad Atkinson." Artforum, 1980.
Lucie Smith, Edward. Art in the 70's, London, 1980.
Richards, Margaret. "Atkinson's Political Themes." Tribune, July 4, 1980.
Rickey, Carrie. "One stings the other doesn't." The Village Voice, October 1, 1979.
"Writing on the Wall." The Irish Times (March 1980).
1979 Brighton, Andrew. "Lives and the pusillanimous quango." Art Monthly (May 1979).
Herbert, Hugh. "Print out." The Guardian, March 1979.
Pilger, John. "Not in front of the children." New Statesman (March 1979).
Wallach, Allan. "Conrad Atkinson: The Dilemma of Political Art." Arts Magazine 54 (December 1979).
Cork, Richard. "Conrad Atkinson Interview." Studio International 191 (March-April).
"Ulster, the Bitter Picture." Evening Standard, May 6, 1976.
Hewitt, John. "UK Reviews: Conrad Atkinson." Studio International (July 1975): 189-90.
Tisdall, Caroline. "Troubles Shared. The Guardian, May 1976.
1974 Braden, Sue. "Alienation and the ICA." Time Out (April 1974).
Campbell, Bob. "A Struggling Artist." Morning Star, April 16, 1974.
Cork, Richard. "Assault by the Facts of Life." Evening Standard, April 25, 1974.
Oille, Jennifer. "Art...Working." Art and Artists, July 9, 1974.
Richards, Margaret. "Picturing the System." Tribune, April 1974.
Tisdall, Caroline. "The Art of Work." The Guardian, April 23, 1974.
1972 Dewhurst, Keith. "Conrad Atkinson and Richard Hamilton." The Guardian, June 7, 1972.
Dickson, David. "Art Politic." Art and Artists, September 7, 1972.
Flynn, Laurie. "Tribute to a Strike." Socialist Worker, June 3, 1972.
Selected Books and Catalogues
Tears in the Rain Golden Thread Gallery Belfast Essays by Mairtin O Muileoir and Peter Richards
Thornton South Square gallery brochure essay by Nima Poovaya Smith
Interview Tate Gallery Archive
Matrix Berkeley Museum and Pacific Archive
Northern Ireland Collection Wolverhampton City art Gallery
Eleanor Heartney Art and Today Phaidon press 2008
Mairtin o Muielliour Conrad Atkinson “Some wounds healing: some birds singing”. Catalogue
LANDESCAPE: CONRAD ATKINSON Richard Cork John Isaacs PUB New York 2006
Apgar, Garry, Shaun O'L. Higgins and Colleen Striegel. The Newspaper in Art. Spokane, WA: New Media Ventures, Inc., 1996.
Apgar, Garry, Shaun O'L. Higgins and Colleen Striegel. Press Gallery: the newspaper in modern and post modern art. Spokane, WA: New Media Ventures, Inc., 2005.
Trade Secrets: Young British Talents Talk Business. Cynthia Rose Thames and Hudson.
The Artist as Photographer, Marina Vaizey.
Arbeit*. Innsbruck, Austria: Galerie im Taxispalais, 2005
Artists Handbooks/Art in Public. Edited by Susan Jones. Sunderland, England: Artic Producers Publishing, 1992, p. 6.
Common Sights. Essays by Robert Woof, Richard Cork, Henry Shukman, and Conrad Atkinson. Cumbria, England: Wordsworth Trust, 2004.
Conrad Atkinson: Everywhere Oblique. Essays by Donald Kuspit and Dan Cameron. Edinburgh: Talbot Rice Gallery.
Conrad Atkinson: Picturing the System. Essays by Lucy Lippard, Sandy Nairne, Caroline Tisdall and Timothy Rollins. London, England: Pluto Press and the ICA.
Conrad Atkinson: Selected Works. Essay by Miranda McClintic. Davis, CA: University of CA/Richard L. Nelson Gallery, 1993.
Conrad Atkinson: Transient. Carlisle, England: Tullie House Museum & Art Gallery, 1996.
Contemporary Artists, St. James Press.
Cork, Richard. A Survey of Modern Art 1970-2000. New Haven, CT: Yale University Press, 2004.
Cork, Richard et al. Conrad Atkinson Lande scapes. Claverack, NY: John Isaacs Books, 2006.
Dictionary of Twenty British Painters. Frances Spalding.
Elvis + Marilyn: 2 x IMMORTAL. New York, NY: Rizzoli, 1995.
Exhibitions and Events. Bradford Art Galleries and Museums, April-May-June, 1988 (cover illustration).
For Emily. Essay by Miranda McClintic and Nima Poovaya-Smith. Halifax, England: The Henry Moore Sculpture Trust Studio, 1992.
Fractured Fairy Tales. Durham, NC: Duke University Museum of Art, 1996.
The Henry Moore Sculpture Trust Studio at Dean Clough, Halifax 1989-1993. Essay by Barry Barker. Halifax, England: The Henry Moore Sculpture Trust Studio, 1993, p. 56-51.
Lucie-Smith, Edward. Artoday. London, England: Phaidon Press Ltd., 1995.
O’L. Higgins, Shaun, and Striegel, Colleen. Press Gallery: The Newspaper in Modern and Postmodern Art. Spokane, WA: New Media Ventures, Inc., 2005.
Mapping the Terrain: New Genre Public Art. Edited by Suzanne Lacy. Seattle, WA, 1995.
Prints from SOLO Impression, Inc. Wooster, OH: The College of Wooster Art Museum, 1994.
Public Art Proposals. Yokohama, Japan: NICAF, Yokohama, 1992, p. 60.
Walker, John A. Left Shift: Radical Art in the 1970’s. London, England: Tauris Press, 2002.
PANELS AND TEACHING POSITIONS
2011 Golden Thread Gallery Belfast
2011 Panel Words by The Water Keswick Cumbria.
2010 Advisor on tenure at Carnegie Mellon University Pittsburgh
2010 Patron Florence Arts Center.
2010 Advisor to World Heritage application for Jarrow and Wear Dark Ages monastery
2010 University of California Arts Advisory Group Washington DC
2009 Asbestos Conference speaker Barrow in Furness Asbestos Group (BARDS).
2008- International Adviser to ARTGENE UK
2004-2008 Member Peer Review College Arts and Humanities Research Council
2005 ISC Conference Cinncinnatti Social Sculpture Panel.
2004 Wordsworth Conference. Grasmere UK.
2003 Arts Council of England, Chair Shortlisting panel for Arts Achievement Award
Cumbria Landscape Biennial, Chair
Kurt Schwitters Working Group, Board Member
2002-2008 Arts Council of England, Board Member of North West Arts
Courtauld Institute, University of London, Distinguished Visiting Professor London, England
2000 The New York Art Scene in the ‘60s and ‘70s, RL Nelson Gallery
Art and Social Function, Intersection for the Arts, San Francisco, CA
1998 California Culture Net, Advisory Committee, CA
ARTS FOR LABOUR, trustee, England
1997 California Arts Council, Advisor, Sacramento, CA
California Culture Net, Advisory Committee, CA
Capp Street Artists Rights
General Services Administration Panel
Governors Conference on the Globalisation of the Arts, Cultural Engagement and Economics, San Francisco, CA
Manchester Metropolitan University, Visiting Professor, England
University of East London, Visiting Professor, Honorary/advisory position, England
Arts Network, West Cumbria College, West Cumbria, Artist Representative
Art and the Managed Landscape, England
Carlisle Artists Studios and Art Gallery, Patron, Cumbria, England
1995-1996 Labor Unions Media Organization, Board Member, We do the Work, San Francisco, CA
1995 ‘Littoral’ Keynote Address, Salford University, England
Artists Talk On Art: Panels on Contemporary Issues in Art, New York, NY, Board Reach/International Collaborations, April 2
Pacific Bridges, Organizer and Participant, UC Berkeley and UC Davis
1994 George Washington University, Washington, DC, Elvis + Marilyn, Keynote Panel
Humanities Institute, University of California/Davis, Radioactive Picturesque
College Art Association, New York Art and Social Context
California College of Arts and Crafts, Art Education in the 21st Century
University of California, Radioactive Picturesque Humanities.
1993 Roxy Theater, San Francisco, CA, West Coast Feminist Practice in the 1970s
Photography Center, New York, NY, Artists Talk About Art
1992-95 Chair, Department of Art, University of California at Davis
1990-1996 AXIS (artists database), Leeds University, Panel Member, England
1989-1990 Visiting Professor & Lecture Series, Carnegie Mellon University, Pittsburgh, PA
1988-1989 Arts Council of Great Britain: Art and Projects Panels
Percentage for Art: National Steering Group
1982-1986 Greater London Council: Visual Arts Adviser
1985 South Bank Committee
1981-1983 Chairperson, Greater London Arts Association: Visual Arts Panel
1978 Slade School of Fine Art, University College, London
1976-1977 Labour Working Party on Arts Policy
1975-1976 Northern Arts Association: Visual Arts Panel
1974 Chairperson, Artists' Union
1972 British Society for Social Responsibility in Science:National Committee Member
Project 84, Founder and Member
1971-1972 Art/Science Working Party, King's College, London
2011 Commended Artist (20 out of 2400) for Main Prize “Freedom to Create
2008 UKArts and Business Visual Art Award shortlist for exhibition “Some Wounds Healing: Some Birds Singing”.
2008 Northern Ireland Arts and Business Visual Art Award for Some Wounds Healing: Some Birds Singing. Belfast.
2006 Honorary Fellow Cumbria University (Carlisle Institute For the Arts)
2003 Guest of Honor, Irish Labor Unions and Arts Council of Ireland Arts and Culture initiative launch
Research Award, University of California, Davis, CA
2002 International Travel Award, University of California, Davis, CA
2000 Artist in Residence, Villeroy and Bosh, Stockholm, Sweden
1999 Faculty Research Grant, University of California, Davis, CA
1998 Artist in Residence, International Ceramic Studio, Kecskemet, Hungary
Travel Research Grant, University of California, Davis, CA
1997-1998 Appointed Official Artist of the US LANDMINES CAMPAIGN
Henry Moore Foundation Residency: to produce installation For Emily, work referencing Emily Bronte's Wuthering Heights
1989 Leverhulme Trust Senior Award
1987 Artist in Residence, Edinburgh University, England
1985 Artist in Residence, London Borough of Lewisham
Fellowship, Northern Arts Association, Newcastle, England
1972 Churchill Fellowship for Fine Arts
1968 Associate Design Fellow, Manchester School of Art and Design, England
1967 Granada Fellowship in Fine Arts, Manchester, England
1965 First Prize Middlesbrough Art Gallery
1954 First Prize National Book League Painting Competition
SELECTED PUBLIC COLLECTIONS
Abbot Hall Gallery, Kendal, England
Aberdeen Art Gallery, England
The Arts Council of Great Britain, London
Australian National Gallery, Canberra
Birmingham Art Gallery, England
Bradford City Art Gallery, England
The British Museum, London
The Brooklyn Museum, New York
Carleton University Art Gallery, Ontario, Canada
Carlisle City Art Gallery and Museum, Carlisle, England
Contemporary Art Society, London
Leeds Armory Museum, London
Middlesbrough Art Gallery, Middlesbrough, England
The Museum of Modern Art, New York
National Ceramic Centre, Aberystwyth, Wales
The Power Gallery, Sydney
Pushkin Fine Arts Museum, Moscow
RL Nelson Gallery, Davis, CA
Sheffield City Art Gallery, Sheffield
St. Paul’s University, MN
Talbot Rice Gallery, Edinburgh, England
The Tate Gallery, London
University Museum and Gallery, Berkeley, CA
University of Michigan Museum of Art, Ann Arbor, MI
The Victoria and Albert Museum, London
Walker Art Gallery Liverpool
The Jane Voorhees Zimmerli Art Museum, New Brunswick
Wakefield City Art Gallery, England
Rutgers University NJ USA
Whitworth Gallery, Manchester
Wolverhampton City Art Gallery
British Center For Romanticism. Grasmere UK.
Belfast Media Group
National Glass Centre Sunderland UK
Tullie House Art Gallery Carlisle UK
University of Cumbria
Lord Mayors Office Belfast
Derry Civil Rights Museum
Kemper Art Museum
University of Michigan
British Government Art Collection
UCL Art Collection London
Yerba Buena Center San Francisco
Intersection for the Arts San Francisco
Museum of London
Camden Arts Center
Wolverhampton City Art Gallery
Arts Council of Northern Ireland
National Portrait Gallery
Coventry Herbert Art Gallery
His depictions wounds and scars from Renaissance crucifixion paintings created “a disconcerting dialogue between present and past,” according to the Times of London, which cited the show as one of the three best of the year nationwide.
It is the forging together of conceptualism and activism to art practice that
distinguishes Atkinson’s work and makes it such an important contribution to
20th century art history. Lawrence Rinder,
Curator Whitney Biennial New York
Conrad Atkinson is one of the most important fine artists in the world who specialize in social and political concerns. The strength of all of his graphics, installations, paintings and sculptures is their visual appeal. Although the text is significant, the images are most compelling and provocative. Atkinson's earliest pieces demonstrate the proposition, exploited by advertisers during the same years as his art practise, that an image is worth a thousand words. Conrad Atkinson has been consistently committed to making the world better while creating works that are visually arresting and well crafted. This combination of ambition and accomplishment is unique. There are no other British artists of his humanity and stature.
Miranda McClintic Curator Hirshhorn Museum Washington DC.
Because of his clarity, his wit, his love of community and his gift for locating the hidden stitch that unravels the seam, Conrad Atkinson has gradually revealed himself to be one of the most thoroughly humanist artists of our time.
Dan Cameron Director New Museum of Contemporary Art New York.
Conrad Atkinson's light, on the other hand, is luminous, as it is in the work of the artists he engages: William Wordsworth, Vincent van Gogh, Jackson Pollock, and the light of their landscapes; Pablo Picasso and the bursting bombs he alludes to in Guernica. The path is better lit, but no less difficult or treacherous. And the nexus of viewer and art is quite similar; one is forced to recognize certain facts, ideas, and events revealed in a way that it is painful to avoid or deny them, rather than the other way around. Meanings normally concealed by our habit of viewing art as something apart from life are deliberately reclaimed. The collaborations are introduced by wall texts that describe Atkinson's connection to or meetings with the aforesaid artists (all of them dead) and their agreements to redo certain important works, all of this in rather vulgar terms that jolt them into the present.
Donald Goddard New York Review
Larry Rinder, curator of the Whitney Biennial and Director of Berkeley Museum says he influenced Tim Rollins, Group Material, Jenny Holzer, Barbara Kruger, Alfredo Jaar, Mel Chinn and others.
Direct engagement, rather than detachment, community participation, rather than isolation, and honest representation, rather than any tendency towards the picturesque, have always been Atkinson’s objectives. He was among the earliest of a small number of artists worldwide to develop these strategies as part of an art language. Among those similarly engaged were Joseph Beuys, Hans Haacke, Ilya Kabakov, and Adrian Piper, all artists whose merging, like that of Atkinson, of conceptual and political approaches profoundly influenced a younger generation of artists such as Mel Chin, Jenny Holzer, Alfredo Jaar, Barbara Kruger, Tim Rollins, and art collectives Gran Fury and Group Material. The latter, in fact, took its name from the title of Atkinson’s first American exhibition, “Material”, held in 1978 at the Ronald Feldman Gallery, New York.
An oft-repeated mantra on the clothing says “Aesthetics can be a pretty ugly business”—in case anyone should fail to get the message that this artist takes responsibility for his own part in the dilemma. If the work were any more slick, I might take Atkinson to be cynical; instead, I responded to his apparent warmth and energy, and bought his sincerity—a distinctly un-Dadalike characteristic.
What makes Atkinson still firmly Dada is that he transforms everyday objects by manipulating their presentation—though it isn’t exactly pleasant to be reminded of the chilling fact that land mines are everyday objects in far too many places—and he does it with the expected ironic sense of humor. Yet, he is postmodern, too, in the undercurrent of dead earnestness that runs through his work, as well as the light touch that also pervades it.
This subtle sleight-of-hand is part of what makes Atkinson a superior artist: He is neither a slave to fashion (if he were, he’d need to abandon the political messages that are at the heart of his creative output) nor a wild card too out of touch with the mainstream to be relevant.
Instead, he has staked out a piece of turf in the history of art-as-politics with a clear, urgent voice and a lasting message: Have the courage to think for yourself, no matter what.
David Brickman New York