Bibliography

Selected Bibliography
1981 Douglas Welch, Arts, “Jonathan Lasker”, January, Illus: “Scept Simon Zabellre”, color, p.2
Roberta Smith, Village Voice, October 21, “Group Exhibition at Tony Shafrazi”
1982 Carl Apfelschnit, Bomb Magazine, Issue #4, Illus: “Bwanna’s Nightmare”, b/w, p.48
1984 Carter Ratcliff, Fact and Fiction, catalogue essay for exhibition at Tibor De Nagy Gallery, Illus: “Nature Study”, color
Katherine Howe, Images and Issues, March-April, “Review of New Biomorphism & Automatism”, pp.18-19
Hans-Joachim Müller, Badische Zeitung, June 27, “Jonathan Lasker at Annette Gmeiner”, Illus: “Nature Study”, b/w
Barnaby Ruhe, Art World, November, “Jonathan Lasker at Tibor De Nagy”, p.10
Collins & Milazzo, Forced Sentiment, catalogue essay for exhibition at Artists Space, p.5
1985 David Carrier, Arts, January, “Painting into Depth: Jonathan Lasker’s Recent Art”, Illus: “Strawberry Fields”, “NatureStudy”, color, “Ascension”, b/w, pp.142-144
Dan Cameron, Arts, February, “The Groundhog Report”, p.96
Nancy Grimes, Art News, April, “Review of 2 Smart Art Too”, pp.146, 148
Stephen Westfall, Art in America, May, “Jonathan Lasker at Tibor De Nagy”, Illus: “Three Card Monte”, color, p. 173
Gerrit Henry, Art News, May,”Jonathan Lasker at Tibor De Nagy”, Illus: “Deep Purple”, b/w, pp.119, 120
Joseph Masheck, New Observations, Issue #28, “Observations on Harking Back (and Forth)”, p.11
Everett Potter, Arts, Summer, “Review of Final Love”, p.37
Collins & Milazzo, Creativa, #4, “New York: Final Love”, Illus: “Idiot Savant”, b/w, p.11
Siegfried Gohr, Kölner Herbstsalon, catalogue essay for exhibition at Museum Ludwig, Illus:”The Sublimation of Love” color, “Heart in a Whirl”, “Heath”, “Nature Study”, “Idiot Savant”, “The Metaphysics of Matter”, b/w
Beth Beigler, East Village Eye, July, “Deconstructing Criticism: C&M”, pp.36-37
Amine Haase, Kölner Stadt Anzeiger, August 9, “Herbstsalon: Umgang Mit Der Kunstgeschichte”, p.27
Bruno Schneider, Kölner Rundschau, August 9, “Review of Herbstsalon”, p.11
Christoph Bungartz, Rheinpfällische Zeitung, August 15, “Review of Herbstsalon”
Steven Madoff, Abstract/Issues, catalogue essay for exhibition at Sherry French Gallery, Unpaginated
Collins & Milazzo, East Village Eye, October, “Art or Media: Neutral Trends”, p.38
Roberta Smith, Vernacular Abstraction, catalogue essay for exhibition at Wacoal Art Center, Illus: “Asterisk”, color
1986 Alan Jones, New York Talk, January, “Cult of Decorum”, Illus: “Large Weather”, b/w, p.67
Dan Cameron, Jonathan Lasker, catalogue essay for exhibition at Michael Werner Gallery, Illus: “Confessions of a Groundhog Fancier”, “Live It…..Love It”, “Double The Fun”, “Beat The System”, “Heavy Mental”, color
Ralf Dank, Kölner Stadt Anzeiger, February 4, “Jonathan Lasker at Michael Werner: Freie Formen”, Illus: “Rhetorical Remembrance”, b/w
Collins & Milazzo, Kunstforum, March, April, May, “New York Scene: Tropical Codes”, Illus: “The Metaphysics of Matter”, color, pp.324-326
Elaine King and David Carrier, Abstraction/Abstraction, catalogue essays for exhibition at Carnegie Mellon University, Illus: “The Metaphysics of Matter”, color
Volker Bauermeister, Badische Zeitung, February 15/16, “Beweggrund, Papiergrund”
Ralf Dank, Kunstforum, June, July, August, “Jonathan Lasker: 5 Bilder”, Illus: “Heavy Mental”, “To Win At Art”, color, pp.292-293
Alan Jones, Galleries, August, September, “Paravision” (Collins & Milazzo interview), Illus: “Main Event”, color, pp.40-43
Stephen Westfall, L.A. Weekly, August 15-21,”Paravision II: The Synthetic Sublime”, pp.20,22
John Yau, Artforum, September, “Jonathan Lasker at Tibor De Nagy”, Illus: “Theories About Exotica”, b/w, p.134
Barry Schwabsky, Arts, September, “Abstraction and Its Double”, Illus: “The Metaphysics of Matter”, color, pp.68-71
Jerry Saltz, Beyond Boundaries: New York’s New Art, Alfred Van Der Marck Editions, hardbound, 128 pp., with essays by Roberta Smith and Peter Halley, Illus: “Theories About Exotica, “Synthetic Flamboyance”, “The Conscious Subconscious”, color
Wilfried Dickhoff, Editor, What It Is, catalogue for exhibition at Tony Shafrazi Gallery, Illus: “To Win At Art”, b/w
Joseph Masheck, The New Leader, October 20, “Abstract Ironies”, pp.21-22
1987 Jonathan Seliger, Arts, March, “Interstices”, Illus: “An Argot For The Supreme Being”, color, pp.66-69
Klaus Ottmann, Flash Art, April,”Modern Sleep”, pp.92-93
Paul Richard, Washington Post, April 11, “Review of the Corcoran Biennial”, pp.C1, C3
Ned Rifkin and Jane Livingston, The 40th Corcoran Biennial, catalogue essays for group exhibition at the Corcoran Gallery of Art, Illus: “Theories About Exotica”, color
Joseph Masheck, Jonathan Lasker, “Painting and Its Treble”, catalogue essay for exhibition at Michael Werner Gallery, Illus: “To Regain Virginity”, “Perfect Penmanship”, “To Caress The Naked Eye”, “Look Alike”, “Fashionable Obscurity”, “Rogue Modernity”, “Return The Favor”, “Non Sequitur Psyche”, color
Collins & Milazzo, J.A.A. Journal, Issue #7, “Hybrid Neutrals”, pp.123-125
Eugene Schwartz, Post-Abstract Abstraction, catalogue essay for exhibition at Aldrich Museum, Illus: “An Argot For The Supreme Being”, “Logo”, b/w
Ralf Dank, Kölner Stadt Anzeiger, May 5, “Jonathan Lasker at Michael Werner: Reizende Puzzles”
Michael Brenson, The New York Times, Sunday, June 7, “Art View: The Corcoran Biennial”
Pat McCoy, Artscribe, Summer, “Interstices”, Illus: “An Argot For The Supreme Being”, “The Sublimation Of Love”, b/w, pp.82-83
David Carrier, Burlington Magazine, July, “Washington, Corcoran Gallery, Fortieth Biennial”, pp.483-484
William Zimmer, The New York Times, Sunday July 5, “Post-Abstract Abstraction in Ridgefield”
Matthew Collings, Artscribe, September, “Posthumous Meaning: Tricia Collins and Richard Milazzo Interviewed”, Illus: “Main Event”, color, pp.44-49
Jutta Koether, Artscribe, September, “Jonathan Lasker at Michael Werner, Cologne”, Illus: “To Regain Virginity”, color, pp.88-89
Steven Madoff, Art News, September,”Washington D.C.: An Inevitable Gathering”, p.153
John Loughery, Arts, September, “Affirming Abstraction: The Corcoran Biennial”, pp.76, 78
Dan Cameron, N.Y. Art Now: The Saatchi Collection, Giancarlo Politi Editore, paperbound, 250pp., Illus: “Heart In A Whirl”,”Idiot Savant”, “The Oddness Factor”, “Live It ….Love It “,”Double The Fun”, “Beat The System”, “Blobscape”, color
Charles Hagen, Artforum, October, pp.135-136
Collins & Milazzo, New Observations #51, October, “Radical Consumption and The New Poverty”, Illus: “Hawaiian Punch”, b/w, p.10
Gerhard Hesler, Stuttgarter Zeitung, July 20, “Um Den Brei Herum (Junge Maler in der Galerie Gmeiner)”
Sten Martinsson, Malmo Kvallsposten, November 19, “Jonathan Lasker at Anders Tornberg”, Illus: “Tribal Publicity”, b/w
Hakan Zeylon, Skanska Dagbladet, November 18, “Jonathan Lasker at Anders Tornberg”, Illus:”The Aberrant Future, b/w
Marika Wachtmeister, Sydsvenska Dagbladet, November 12, “Jonathan Lasker at Anders Tornberg”, Illus: “To Regain Virginity”, b/w
Cookie Mueller, Details, February, “Art and About”, pp.69-70
Daniel Barbiero, New Art Examiner, Summer, “The Fortieth Corcoran Biennial”, pp.30-31
Unauthored, Jonathan Lasker:Paintings 1986-1987, catalogue for exhibition at Anders Tornberg, Illus: “Tribal Publicity”, “Kinds of Love”, “The Aberrant Future”, “Ego Worship”, “Eye Sex”, “To Manufacture Transcendence”, color
1988 Mari Rantanen, Helsingin Sanomat, February 21, “Interview with Jonathan Lasker”, Illus: “Popular Psyche”, color, p.A16
John Zinsser, Arts, May, “Plotting Self-Doubt: The Paintings of Jonathan Lasker and Tom Nozkowski”, Illus: “Rogue Modernity”, color, pp.82-83
Douglas Huebler, John Miller, Stephen Prina, et al., Cal-Arts: Skeptical Belief(s), catalogue essays for exhibition at Renaissance Society and Newport Harbor Art Museum, Illus: “The Age of Plastic”, b/w, p.4
Robert Mahoney, Arts, Summer, “Jonathan Lasker at Massimo Audiello”, p.108
Brian Hatton, Flash Art, Summer, “N.Y. Art Now 2”, p.142
Collins & Milazzo, Gary Indiana, “Hybrid Neutral, Modes of Abstraction And The Social“, catalogue essays for traveling exhibition, Illus: “Compound Beliefs”, b/w, p.45
Mari Rantanen, Taide Magazine, August, “Interview with Jonathan Lasker”, Illus: “The Conscious Subconscious”, “Contemporary Tribalism”, “Primordial Teenage”, “Double Play”, color, pp.38-42
Markus Brüderlin, “Schwarzwaldbild” catalogue essay for exhibition at Künstverein Hochrhein, Illus: “A Week’s Work in the Schwarzwald”, color
John Zinsser, Art in America, November, “Jonathan Lasker at Massimo Audiello”, Illus: “The Realm of the Quaint”, color, pp.179-180
Marika Wachtmeister, Femina Magasin, December, “Fran Elverk Till Konst Museum, Rooseum”, Illus: “Today’s Universe”, color, pp.120-124
Daniela Morera, L’Uomo Vogue, December, “New York Art”, pp.141-144
1989 Gosse Oosterhof, Dan Cameron, Horn of Plenty, catalogue essays for exhibition at Stedelijk Museum, Amsterdam, Illus: “Cosmic Shorthand”, “Digital Affection”, “Double Play”, “Abstract America”, color, “Fake Freak”, b/w
Saul Ostrow, Diagrams & Surrogates, catalogue essay for exhibition at Shea & Beker Gallery, Illus: “The Redundant Sublime”, color, p.8
Lucilla Meloni, Tema Celeste, January-March, “Jonathan Lasker at G.E. Sperone”, Illus: “Fake Freak”, b/w, p.69
Alessandra Mammi, Artforum, February, “Jonathan Lasker at G.E. Sperone”, Illus: “Fake Freak”, b/w, p.142
Collins & Milazzo, Hyperframes, Post Appropriation Discourse, The Yale Lectures, Volume I, Editions Antoine Candau, Paris, paperbound, 55pp. (English text), 57pp. (French text)
Jude Schwendenwien, Contemporanea, October, “The Silent Baroque”, Illus: “Psychic Governance”, p.89
Collins & Milazzo, Cultural Promiscuity: A Dialogue With Jonathan Lasker, Gian Enzo Sperone Editions, paperbound, unpaginated, Illus: 13 studies for a painting entitled “Cultural Promiscuity”, color
Helmut Draxler, Flash Art, October, “The Silent Baroque”, p.144
Roberta Smith, The New York Times, October 27, “Jonathan Lasker at Massimo Audiello”, p.C30
Christian Leigh, Editor with numerous contributors, The Silent Baroque, Thaddaeus Ropac Editions, hardbound, 288 pp., Illus: “Psychic Governance”, color, 6 drawing project entitled “The Ornate Pysche”, b/w
Demetrio Paparoni, Tema Celeste, October-December, “Conversation with Jonathan Lasker”, Illus: “Born Yesterday”, “Those of Questionable Existence”, “Notes from a Wooden Computer”, color, pp.51-53
Stephen Westfall, Art Today (Monthly video tape publication), November, “Jonathan Lasker at Massimo Audiello,” Vol.1, No.1
Grace Glueck, The New York Times, December 28, “Around Los Angeles, Private Foundations Offer Art to the Public”, pp. C13, C16
Collins & Milazzo, Art at the End of the Social, catalogue essay for exhibition at the Rooseum, Illus: “Contemporary Tribalism”, “For A Small Country”, “Beer Culture”, “Today’s Universe”, color, pp.184-187
Rosma Scuteri, Flash Art, Italian Edition, February-March, “Jonathan Lasker at G.E. Sperone”, Illus: “Fake Freak”, b/w, p.113
Martijn Van Nieuwenhuyzen, Flash Art, International Edition, March/April, “Horn of Plenty”, p.102
Marja Bosma, Contemporanea, May, “Horn of Plenty”, Illus: “Digital Affection”, color, p.94
Lise Holst, Art News, May, “Diagrams and Surrogates”, p.171
Angela Lombardi, Tema Celeste, April-June, “Interview with Jonathan Lasker”, Illus: “Cosmic Vernacular”, “The Realm of the Quaint”, “The New Infancy”, color, pp.62-63
Stuart Greenspan, Art & Auction, March, “Art 2, The Schorr Collection”, Illus: “The New Infancy”, color, pp.138-141
Joseph Masheck, David Shapiro, F.Pellizzi, P. Gettinger, 1979- 1989, Italian, Mexican Art from the Collection of Francesco Pellizzi, catalogue essays for exhibition at Hofstra University, Illus: “Spiritual Entertainment”, color, p.37
Shoichiro Higuchi, Anthropos, November, “Artist in New York: Jonathan Lasker”, Illus: “Cosmic Vernacular”, color, pp.132-134
Demetrio Paparoni & Michelangelo Castello, Specchi Ustori, Tema Celeste Editioni, Siracusa, Italy, Paperbound, 133 pp., Illus: series of 4 drawings
1990 Shirley Kaneda, Bomb, Winter, “Interview with Jonathan Lasker”, Illus: “Born Yesterday”, “Arcane Reasoning”, “Worlds of Mutual Exclusion”, b/w, pp.16-19
Jude Schwendenwien, Artscribe, January-February, “A Thousand Words, Jonathan Lasker’s Sublime Discourse”, Illus: “Popular Psyche”, “Today’s Universe”, “The Big Picture”, color, pp.58-61
Joseph Masheck, Arts, January, “Painting in Double Negative, Jonathan Lasker’s Third-Stream Abstraction”, Illus: “Baroque Transparency”,”Expressive Abstinence”, “Born Yesterday”,”Gutteral Antiquity”, color, pp.38-43
Barbara MacAdam, Art News, February, “Jonathan Lasker at Massimo Audiello”, Illus: “Born Yesterday”, b/w, pp.154-155
Collins & Milazzo, Token Gestures, catalogue essay for exhibition at Scott Hansen Gallery, Illus: “After Right and Wrong”, b/w, unpaginated
Shoichiro Higuchi, Idea, March, “This Side and the Opposite Side ofLasker’s Screen”, Illus: “Obscure Designs”, “Notes from a Wooden Computer”, color, “Contemporary Tribalism”, b/w, pp.126-127
David Carrier, Art International, Spring, “Abstract Working Spaces: Jonathan Lasker at Massimo Audiello”, Illus: “Rural Geometry”, color, pp.68-70
Juergen Kisters, Kölner Stadt Anzeiger, April 21, 22 , “Galerie Werner Zeigt Jonathan Lasker”
Carter Ratcliff, Art in America, June, “Notes On Line”, Illus: “Euphoric Routines”, color, pp.152-157
Mari Rantanen, Worlds, Maailmat ’90, catalogue essay for exhibition at Joensuu Art Museum, Illus: “Worlds of Mutual Exclusion”, “Today’s Universe”, color, pp.21-25
Uta Reindl, Kunstforum, June, July, “Jonathan Lasker at Michael Werner”, Illus: “Arcadian Sections”, color, p.312
Jude Schwendenwien, The Significance of Moments, catalogue essay for solo exhibition at Michael Werner Gallery, Illus: “Terse Psyche”, “Simple Painting”, “Gutteral Antiquity”, “Formalities of Self”, “Standards of Expression”, “Arcadian Sections”, “Born Yesterday”, “Infant Wisdom”, “To Be A Thing”, “Cosmic Self-Evidence”, color
Joan Snitzer, Tema Celeste, July-October, “Token Gestures”, pp.68-69
Rainer Crone and David Moos, Painting Alone, “Painting at a Moment”, catalogue essay for exhibition at Pace Gallery, Illus: “The Spiritual Economy”, color, p.51
Robert Pincus-Witten, Collins & Milazzo, The Last Decade: American Artists of the Eighties, catalogue essays for exhibition at Tony Shafrazi Gallery, Illus: “Mantra to a Distracted God”, color
Collins & Milazzo, Hyperframes: A Post Appropriation Discourse, Vol. II Editions Antoine Candau, Paris, Paperbound, 108 pp., (English text), 117 pp. (French text)
Roberta Smith, The New York Times, October 12, “Painting Alone”, p.C23
David Reisman, Artscribe, September-October, “Token Gestures”, p.88
Barry Schwabsky, Arts, November, “Forwarding Address: Abstract Painting in Some Recent Manifestations”, pp.96-97
Jelena Zetterstrom, Sydsvenska Dagbladet, November 24, “Spänning, Rörelse: Jonathan Lasker at Anders Tornberg”
Shirley Kaneda, Arts, December, “Painting Alone”, p.84
Unauthored, Jonathan Lasker, catalogue for solo exhibition at Anders Tornberg Gallery, Illus: 16 untitled drawings, color
Donald Kuspit, Artforum, December, pp.131-132
Paolo Balmas, Segno, Annual Edition, “New York, A Kaleidoscope from Outside: Jonathan Lasker at Massimo Audiello”, p.36
1991 Saul Ostrow, Tema Celeste, January-February “Painting Alone”, p.90
Saul Ostrow, Strategies for the Next Painting, catalogue essay for exhibition at Wolff Gallery, New York and Feigen Inc., Chicago, Illus: “Some Like Love”, b/w, p.6
Joseph Masheck, Between Intuition and Reason, “Haven’t We Met Before?”, catalogue essay for exhibition at Grossman Gallery, unpaginated, Illus: “Double Play”, “After Right and Wrong”, “The Big Picture”, color
Collins & Milazzo, Tema Celeste, January-February, “From Kitsch to Kant and Back Again”, pp.76-80
Alan Jones, Arts, February, “Carte Blanche: Books in Artists’ Lives, Part II”, pp.25-26
Rainer Crone and David Moos, Interpreting Contemporary Art, “Romance of the Real”, essay in an anthology, Stephen Bann & William Allen, Editors, Reaktion Books, paperbound, 229pp, Illus: “Double Play”,color, “Main Event”, “The Excessive Norm”, “Flower Bomb”, “Baroque Transparency”, b/w
Demetrio Paparoni, Riza Scienze, April, “Le Pulsioni dell’Arte”, Illus: “Mantra to a Distracted God”, color, p.53 and magazine cover
Josefina Ayerza and Lynn Crawford, Lacanian Ink #3, “Jonathan Lasker” and “Abstracts of a Conversation with the Artist”, Illus: 6 untitled drawings, b/w, pp.68-75 and back cover
Shirley Kaneda, Arts, Summer, “Painting and Its Others”, p.62
Nikolai Forstbauer, Stuttgarter Nachrichten, June 13, “Feuilleton: Liebenswerter Kunst-Irrgarten”, Illus: “Born Yesterday”, b/w
Nikolai Forstbauer, Stuttgarter Nachrichten, June 24, “Was Für Eine Grossartige Malerei”, Illus: “Why Things Are”, b/w
Nikolai Forstbauer, Zyma, June-July, “Jonathan Lasker -Why Things Are Born Yesterday”, Illus: “Born Yesterday”, “Cosmic Self-Evidence”, “To Be A Thing”, color, pp.22-25
Lars Ericsson, Dagens Nyheter, September 6, “Jonathan Lasker at Lars Bohman”, Illus: untitled oil study, color, p.B3
Edith Newhall, New York Magazine, September 23, “Fall Preview”, p.62
Gertrud Sandqvist, Svenska Dagbladet, September 21, “Jonathan Lasker at Lars Bohman”
Robert Mahoney, Arts, October, p.95
Renato Barilli, Jan Avgikos, et al., Anni Novanta, catalogue essays for exhibition at the Bologna Gallery of Modern Art, Illus: “Cosmic Self-Evidence”, color, “Public Love”, “Ode to a Mutt”, b/w, pp.62-63
Charles Hagen, The New York Times, October 18, “Art in Review: Jonathan Lasker at Sperone Westwater”, p.C28
Kirby Gookin, Rainer Crone and David Moos, Jonathan Lasker, “Drawing a Line Between Illusion and Reality” & “The Status of Beauty: Jonathan Lasker and the Rose”, catalogue essays for solo exhibition at Sperone Westwater Gallery, Illus: “Fake Freak”, “The Politics of Reality”, “Digital Affection”, “Histrionic Infinity”, “The Big Picture”, “Euphoric Routines”, “How To Be”, “Some Share Eternity”, “Public Love”, “To Believe in Food”, “The History of the Boudoir”, “Improved Expressions”, “To an Object of Love”,”Polite Cosmos”, “The Power of Weakness”, “The Division of Happiness”, color, “Arcadian Sections”, “Cosmic Self- Evidence”, b/w
Daniel Wheeler, Art Since Mid-Century: 1945 to the Present, Vendome Press, hardbound, 344pp., Illus: “Today’s Universe”, color
Demetrio Paparoni, The Metaphysics of Light, catalogue essay for exhibition at John Good Gallery, Illus: “Rustic Psyche”, color
Demetrio Paparoni, Tema Celeste, Autumn, “Conversation with Jonathan Lasker”, Illus: “The Cosmic Vernacular”, “Standards of Expression”, “The Meaning of Pleasure”, “Love’s Rhetoric”, color, pp.88-89
Veit Görner, Pan, October, “Expertentip-Etabliertes Für Einsteiger”, Illus: “Born Yesterday”, color, p.24
Carroll Janis, Jonathan Lasker, et al., Conceptual Abstraction, catalogue essays for exhibition at Sidney Janis Gallery, unpaginated, Illus: “Arcadian Sections”, b/w
Paolo Balmas, Segno, September, “Il Caso Lasker”, pp.20,22,23
Matthew Weinstein, Artforum, December, “Jonathan Lasker at Sperone Westwater”, Illus: “Polite Cosmos”, b/w, pp.97- 98
Barry Schwabsky, Arts, December, “Jonathan Lasker at Sperone Westwater”, Illus: “The Power of Weakness”, color, p.66
Ruth Kaufman, Mike Metz, Stubborn Painting, catalogue essays for exhibition at Max Protetch Gallery, unpaginated, Illus: “Natural Formality”, “Canaletto”, “The Excessive Norm”, b/w
Trevor Richardson, Art on Paper, catalogue essay for exhibition at Weatherspoon Art Gallery, Illus: untitled drawing, b/w, p.15
Roberta Smith, The New York Times, December 27, “Art in Review – Conceptual Abstraction”, p.C31
Carl Dietmar, Die Chronik Kölns, Kölner Stadt Anzeiger-Chronik Publications, hardbound, 600pp., Illus: “Infant Wisdom”, “To Be a Thing” in installation at Michael Werner Gallery, color
Alisa Taeger, Lapiz, October, “Color and Abstract Painting: Expanding the Palette”, Illus: “Public Love”, pp.62-65
Terry Myers, Lapiz, November, “Jonathan Lasker at Sperone Westwater” Illus: “To an Object of Love”, color, p.67
1992 Ken Johnson, Art in America, January, “Jonathan Lasker at Sperone Westwater”, Illus: “To An Object of Love”, color, pp.111-112
Roberta Smith, The New York Times, January 10, “Abstraction: A Trend That May Be Coming Back”, p.C28
Barry Rosenberg, Peter Halley, The City Influence, catalogue essays for exhibition at Dayton Art Institute, unpaginated, Illus: “Love’s Rhetoric”, “Notes from a Wooden Computer”, “Rustic Psyche”, “To an Object of Love”, “The History of the Boudoir”, color
Melissa Feldman, Jonathan Lasker, Paintings 1985-91, catalogue essay for solo exhibition at I.C.A., Philadelphia, PA, unpaginated, Illus: “The Meaning of Pleasure”, “Improved Expressions”, “The Sublimation of Love”, “The Realm of the Quaint”, “Landscape with Blob”, color
Edward Sozanski, Philadelphia Inquirer, February 2, “Jonathan Lasker at I.C.A.”, pp.K1,K5
Barbara MacAdam, Art News, February, “La Metafisica Della Luce”, pp.128-129
Paul Gardner, Art News, February, “Do Titles Really Matter?”, Illus: “Euphoric Routines”, color, p.97
Gary Mullinax, Wilmington Journal, February 2, “Jonathan Lasker at I.C.A.”, Illus: “Improved Expressions”, b/w
Marjorie Wellish, Tema Celeste, January-March, “Abstraction, Advocacy Of”, Illus: “Arcadian Sections”, “Rustic Psyche”, color, pp.74-79
David Carrier, Arts, March, “Afterlight: Exhibiting Abstract Painting in the Era of Its Belatedness”, pp.60-61
Steven Madoff, Art News, April, “A New Lost Generation”, Illus: “The Division of Happiness”, color, pp.72-77
Robert Mahoney, Arts, April, “Review of Stubborn Painting”, pp.90- 91
Dan Cameron, Art & Auction, May, “Critical Edge: The Outlaw Academy”, pp.96,98
Lisa Liebman, Interview, June, “Documenting Documenta”, pp.44,46, 48,50
Gertrud Sandqvist, Svenska Dagbladet, June 21, “Documenta Satter Reglerna Ur Spel”, p.13
Michael Kimmelman, The New York Times, July 5, “At Documenta It’s Survival of the Loudest”, p.27
Kim Levin, Village Voice, July 14, “Jan Who? Docu What?”, pp.95- 96
Mary Murphy, New Art Examiner, Summer, “Consciousness In the Abstract”, Illus: “Rustic Psyche”, b/w, pp.16-20
Collins & Milazzo, Theoretically Yours, catalogue essay for exhibition at Museo Regione Autonoma Della Valle D’Aosta, 224pp., Illus: “Main Event”, color
Rolf Ricke, Editor, Kinder: Macht Neues, catalogue for exhibition at Rolf Ricke Gallery, unpaginated, Illus: “Love’s Rhetoric”, color
Irma Schlagheck, Art, June, “Documenta IX: Riskanter Balanceakt Mit 186 Artisten”, Illus: “To Believe in Food”, color, pp.26-46
Wolfgang Max Faust, Art, June, “Die Kunst Nach Dem Tod Der Modernen Stile: Erste Hilfe Fur Besucher Der Documenta 9”, Illus: “The History of the Boudoir”, color, pp.48,49,51-53
Jan Hoet, Denys Zacharopoulos, Bart De Baere, Pier Luigi Tazzi, et al., Documenta IX, catalogue for exhibition at Kassel, Germany, Illus: “To Believe in Food”, “The History of the Boudoir”, color, 619pp.
Philippe Dagen, Le Monde, June 17, “Jonathan Lasker: Tableaux Froids”
Peter Schjeldahl, Art in America, September, “Documenta of the Dog”, pp.77, 88-97
Anne Ayres, Art Issues, September/October, “Documenta IX”, pp.34-35
Paul Ardenne, Art Press, September, “Jonathan Lasker at Thaddaeus Ropac”, Illus: “Styles of Being”, b/w, p.91
Paolo Levi, Capital, July, “Giovani Informali”, Illus: “To Win at Art”, color, pp.182-184, 186
Martin Kunz, Kunstforum, Issue 119, “U.S.A. – Blickpunkt Eastcoast”, Illus: “To Believe In Food”, “The History of the Boudoir”, color, pp.168, 381
Collins & Milazzo, Who’s Afraid of Duchamp, Minimalism and Passport Photography?, catalogue essay for exhibition at Annina Nosei Gallery, 31 pp.
Jessica Stockholder, Artforum, September, “In the Studio: Mary Heilmann”, pp.76-77
Rosemarie Schwarzwälder, Editor, Abstract Painting Between Analysis and Synthesis, catalogue for exhibition at Gallerie Nächst St.Stephan with international art dialogue directed by Noemi Smolik, paperbound, 155 pp, Illus: “Theoretical Pleasure”, color, “Hark”, b/w
Stephan Goetz, “American Artists in their New York Studies: Conversations about the Creation of Contemporary Art“, Daco-Verlag Guenter Blaese, hardbound, 176 pp., Illus: untitled drawing, 1989, b/w
Craig Adcock, Tema Celeste, Autumn, “Documenta IX”, pp.84-86
Demetrio Paparoni, Tema Celeste, April-June, “L’Arrancia e Il Suo Succo, L’Astrazione Tra Realta e Simulazione”, Illus: “The Cosmic Vernacular”, color, p.59
Luca Beatrice, Tema Celeste, Autumn, “Theoretically Yours”, p.101
Noemi Smolik, Artforum, December, “Kinder Macht Neues!”, p. 105
Charles Dee Mitchell, The Dallas Morning News, December 8, “Jonathan Lasker Epitomizes a New Wave of Abstract Painters”, Illus: “The Happiness of Nations”, color, pp.1C,3C
1993 Collins & Milazzo, Metropolis M, February, “Culturele Ontmaskering, Een Vraagesprek Met Jonathan Lasker”, Illus: “Improved Expressions”, “Some Like Love”, “The Happiness of Nations”, color, “The Unlearning”, “Painting for an Invisible Generation”, “Styles of Being”, “Nice N.Y.C.”, b/w, pp.20-25
Carel Blotkamp, Huettenloecher, Lasker, Van Meerendonk, “In Praise of Painting (Crisis? What Crisis?)”, catalogue essay for solo exhibition at Witte de With Center for Contemporary Art, Rotterdam, Holland, Illus: “Cosmic Self-Evidence”, “Infant Wisdom”, “How to Be”,”Reasonable Painting”, “Some Share Eternity”, “The Ecstasy of Logic”, “Painting for an Invisible Generation”, “When Dreams Work”, color, hardbound, 94 pp.
Janneke Wesseling, NRC Handelsblad, February 12, “Het Spook Van De Netvlieskunst”, Illus: “How to Be”, b/w, p.4 of cultural supplement
Joseph Masheck, Modernitites: Art-Matters in the Present, Penn State Press, hardbound, 304pp, Illus: “Spiritual Entertainment”, b/w
Daniel Pinchbeck, Art & Antiques, April, “Openings”, Illus: “Ode to Basketball”, color, p.21
Arthur C. Danto, Artforum, April, “Art After the End of Art”, Illus: “Invective Decor”, color and b/w, cover, pp.3, 62-69
Bert Jansen, Het Financieele Dagblad, March 6, “Witte De With Doet Persoonlijk Verslag Van Gevolgde Route”, Illus: “How To Be”, “Some Like Love”, b/w, p.13
Cornee Jacobs, Utrechts Nieuwsblad, February 23, “Hedendaagse Abstracte Schilders in Witte De With”, Illus: “Some Like Love”, b/w
Vera Iles, Elsevier, February 18, “Kunst of Geen Kunst, Dat is De Vraag Niet”, Illus: “How to Be”, color, p.94
Dolf Welling, Rotterdams Dagblad, February 16, “Op Zijn Hondjes Kijken in Witte De With”
Wilma Suetoe, De Volkskrant, February 18, “Is De Schilderkunst Uitgetput En Voorbij?”
Ann Wiens, New Art Examiner, May, “On View: Jonathan Lasker at Rhona Hoffman Gallery”, Illus: “Selective Identity”, b/w, pp.36-37
Frank Hoenjet, Forum International, May-August ,”Huettenloecher, Lasker and Van Merendonk”, p.132
Rainer Crone and David Moos, Jonathan Lasker, Telling The Tales of Painting; About Abstraction at the End of the Millenium, Edition Cantz, hardbound,189 pp., Illus: 60 oil studies, color
Demetrio Paparoni, Italy-America: Abstraction Redefined, “The Self-Regulation of the System”, catalogue essay for exhibition at Galleria Nazionale D’Arte Moderna, San Marino, Italy, Illus: “Digital Affection”, color, 175 pp.
Birgit Sonna, Sueddeutsche Zeitung, June 15, “Aktuell in Münchener Gallerien: Jonathan Lasker at Bernd Klüser”
Lucia Spadano, Segno, Summer, “Interview with Demetrio Paparoni”, p.36
Arturo Schwarz, Segno, Summer, “Una Mostra Da Non Perdere”, pp.37-39
David Carrier, Segno, Summer, “Italia/America, L’Astrazione Ridefinita”, Illus: “Digital Affection”, color, p.35
Louise Neri, Editor, Parkett, #37, September, “Cherchez La Femme Peintre (an Inquiry), p.143
Kay Larson, New York, October 11, “Jonathan Lasker at Sperone Westwater”, p.82
Peter Plagens, Newsweek, October 11, “Art: The Soho Scene Lights Up: Jonathan Lasker at Sperone Westwater”, Illus: “The Value of Pictures”, color, p.58
Lisa Liebman, The New Yorker, October 18, “Art: Cool Kid; Jonathan Lasker at Sperone Westwater”, p.20
Will Joyner, The New York Times, November 12, “Is It Art? Just Ask Any Child”, pp.C1, C6
Robert Rainwater, The American Livre De Peintre, catalogue essay for exhibition at the Grolier Club, New York, Illus: Drawing for “Not a First”, b/w, p.26
Kathryn Hixson, Forum International, October-November, “Jonathan Lasker at Rhona Hoffman Gallery”, Illus:”Natural Order”, b/w, p.135
Donald Kuspit, Artforum, December, “Jonathan Lasker at Sperone Westwater”, Illus: “Reverse Society”, b/w, p.80
Dan Cameron, Artforum, December, “Book Review of ‘Jonathan Lasker: Telling the Tales of Painting’ “, p.73
Marjorie Wellish, Arthur Danto, Rainer Crone, New York Painters, catalogue essays for exhibition at Sammlung Goetz, Illus: “Inlet”, “The Trophies”, “Cave Painting”, “Standards of Expression”, “Infant Wisdom”, b/w, “Cosmic Self-Evidence”, “Invective Decor”, twelve untitled studies, color, 73pp.
Angelo Trimarcoe, Tema Celeste, Autumn, “Italia/America, L’Astrazione Ridefinita”, Illus: “Digital Affection”, color, pp.68,69
Paul Groot, Daniel Kurjakovic, Vittorio Santaro: Portraits Nudes Clouds, Memory/Cage Editions, hardbound, 93pp., illus: Portrait of the Artist, b/w, p. 47
John Cheim, Diego Cortez, Carmen Gimenez, Klaus Kertess et al., Drawing the Line Against Aids, catalogue for benefit exhibition, Gruppo Editoriale Fabbri S.P.A, softbound, 184 pp., illus: “Untitled” (S-27.25), color
1994 Adrian Searle, Unbound: Possibilities in Painting, catalogue essay for exhibition at Hayward Gallery, London, England, Illus: “Public Love”, “Natural Order”, “Reverse Society”, “Styles of Being”, color, cover, pp.66-71
Richard Cork, The London Times, March 8, “Painting is Back in the Picture”, Illus: “Public Love”, b/w, p.35
David Lillington, Time Out, March 9-16, “Zeitgeist”, p.2
Andrew Graham-Dixon, The Independent, March 15, “Sort of, Almost, In a Way, Nearly”, p.15
Waldemar Januszczak, The London Times, Sunday, March 13, “A State of Confusion”, Illus: “Styles of Being”, color, pp.28,29
William Packer, Financial Times, March 15, “Unbound: Possibilities in Painting: Hidebound By Rhetoric”
Philippe Briet, Le Temps D’Un Dessin, catalogue poem for exhibition at École Des Beaux Arts De L’Orient, unpaginated, Illus: untitled drawing, b/w
Francesco Bonami, Flash Art, May-June, “Meaning Can Happen: An Interview with Jonathan Lasker”, Illus: “The Value of Pictures”, “Natural Order”, “The Outsides Are In”, color, pp.94,95
Catherine Milner, London Times Magazine, January 29, “A Brighter Picture”, Illus: “Public Love”, color
David Batchelor, Frieze, May, “Behind a Painted Smile: Unbound at the Hayward Gallery”, Illus: “Public Love”, b/w, pp.18-21
David Carrier, The Aesthete in the City: The Philosophy and Practice of American Abstract Painting in the 1980’s, Penn State Press, hardbound, 290pp., Illus: “Ascension”, “Nature Study”, “Strawberry Fields”, b/w
Anne Marie Monteil, Basler Zeitung, June 14, “Wenn Ungleiches Den Diskurs Versucht: Jonathan Lasker in der Galerie Buchmann”, Illus: “How to be Unique”, color
Demetrio Paparoni, L’Astrazione Ridefinita, Tema Celeste Editions, paperbound, 112pp., Illus: “Rustic Psyche”, “Digital Affection”, color
Peter Plagens, Art & Auction, June, “Crisis in the Contemporary”, pp.76- 78,113
Dan Cameron, Art & Auction, June, “Crisis in the Contemporary: A Response”, pp.79, 113
Michael Archer, Art & Text, May, “Unbound”, Illus: “Public Love “, b/w, p. 85
Tony Godfrey, Chance, Choice and Irony, catalogue essay and interviews for exhibition at Todd and John Hansard Galleries, Illus: “The Politics of Reality”, color, p.72
Adrian Dannatt, Flash Art, Summer, “Painting by Numbers, Three Painting Shows”, pp.120,121
Anonymous, The Assertive Image, catalogue essay for exhibition at Armand Hammer Museum, Illus: “Contemporary Tribalism”, color, p.11
Merete Kildahl, Moss Dagblad, June 3, “Maleri, Kropp Og Rom”, p.28
Anne Lise Stafne, Aftenposten, June 5, “Kropp Rom-Og Dialog”
Ina Blom, Aftenposten, June 17, “Maleriet Som Sted Pa F15”, Illus: “Life Can Be Beautiful”, b/w
Lotte Sandberg, Dagbladet, June 20, “Maleriet Lever Pa Jeloy”
David Lillington, Metropolis M, June, “Unbound”, Illus: “The Pride of Being”, color, pp.52, 53
Daniel Birnbaum, Dagens Nyheter, September 16, “Jonathan Lasker at Lars Bohman”, Illus: “Real Imaginary”, color, p.B3
Jerry Saltz, Art in America, October, “A Year in the Life: Tropic of Painting”, Illus: “Terms of Reality”, color, pp.100- 101
Otto Ocvirk, Robert Stinson, et al., Art Fundamentals, hardbound, 336pp., W.C.S. Brown & Benchmark Press, Illus: “The Division of Happiness”, color
Saul Ostrow, Jonathan Lasker: A Pre-Fab View, catalogue essay for solo exhibition at Bravin Post Lee, 36pp., Illus: “Heath”, “The View from Home Plate”, “5 of Spades”, “Land O’Goshen”, “Crystal Falls”, “Sceptre”, “Greek”, “An Intrusion of Dawn”, “Pre-Fab View”, “Procession”, “Heart in a Whirl”, “Lemon Smash”, color
Eric Van Den Heeg, Material, October, “Interview with Jonathan Lasker”, Illus: “Reverse Society”, b/w
Mark Rosenthal, Atelier, July, “Critiques of Pure Abstraction: Jonathan Lasker”, Illus: “Born Yesterday”, “The Happiness of Cannibals”, color, cover, p.98
Mary Ann Francis, Untitled, Summer, “Chance, Choice and Irony”, p.23
Unauthored, American Painting Now, catalogue for exhibition at Galleries Fossati, Menzio and Rimoldi in Torino, Illus: “The Politics of Reality”, untitled oil study, color
Lorenzo Pittore Soave, Tutti Questi Mondi, catalogue for exhibition at Galleria Carini di Prato, Illus: “How to Be”, color
Peter Schjeldahl, W. Jackson Rushing, Abstraction: A Tradition of Collecting in Miami, catalogue essays for exhibition at the Center for Fine Arts, Miami, FL
Heinrich Klotz, Kunst im 20. Jahrhundert: Moderne, Postmoderne, Zweite Moderne, published by Verlag. C.H. Beck München, paperbound, 211pp.
1995 Jack Bankowsky, Artforum, January, “Talk with Klaus Kertess: The Art of the Matter, Curating the Whitney Biennial”, pp.71,104
Brittain Shaw, Houston Chronicle, January 28, “Critiques of Pure Abstraction: Blaffer Exhibit Puts Abstraction in Modern Light”, pp.1-4
Eric James, Houston Daily Cougar, February 1, “Critiques of Pure Abstraction: Blaffer Gallery Goes Abstract”
Josefina Ayerza, Editor, Lacanian Ink, 9, Winter, “Written, Spoken, Drawn in Lacanian Ink”, Illus: untitled drawing, b/w, p.95
Peter Schjeldahl, Jonathan Lasker, “On A Lasker”, catalogue essay for solo exhibition at Soledad Lorenzo Gallery, Madrid, Spain, 38pp., Illus: “The Divergence of Truth and Beauty”, “Articulate Ecstasy”, “Natural Order”, “Expressions of an Uncertain Universe”, “Interpretive Painting”, “The Consciousness of Animals”, five untitled oil studies, color
Jose Ramon Danvila, El Punto de las Artes, Februay 3-9, “Jonathan Lasker at Soledad Lorenzo: Tecnica Directa, Directa Pintura”, Illus: “The Consciousness of Animals”, b/w
Fernando Castro Florez, Diario 16, February 13, “Jonathan Lasker at Soledad Lorenzo Gallery: Una Pintura en Busca de Divergencias”, Illus: “The Divergence of Truth and Beauty”, b/w
Tuula Arkio, Maaretta Jaukkuri, Ars 95 Helsinki, catalogue essays for exhibition at Museum of Contemporary Art, Helsinki, Finland, Illus: “Reverse Society”, color, pp.72,73
Lars O. Ericsson, Dagens Nyheter, February 17, “Ars ’95: Varldskonsten Till Helsingfors”, p.B3
Thomas Fechner-Smarsly, Neue Bildende Kunst, February, “Ars ’95: Standort Bestimmung in Helsinki”, pp.42-45
Thomas Fechner-Smarsly, Frankfurter Rundschau, “Ars ’95: Periphere und Perfide Idyllen”, p.7
Mark Rosenthal, Critiques of Pure Abstraction, catalogue essay for traveling exhibition, unpaginated, Illus: “The Happiness of Cannibals”, color
Ericka Schiche, Public News, February 22, “Critiques of Pure Abstraction: Abstract Divorce”, p.C12
Pablo Jimènez, ABC Cultural, February 24, “Jonathan Lasker at Soledad Lorenzo Gallery: Esplendores De La Pintura”, Illus: “The Consciousness of Animals”, b/w
Francisco Calvo Serraller, El Pais, February 25, “Jonathan Lasker at Soledad Lorenzo Gallery: Pintar en frio”, Illus: “The Divergence of Truth and Beauty”, b/w
George Melrod, Art & Antiques, February, “Openings: Exploring Nature and Line as Metaphor”, Illus: “The Happiness of Nations”, color, pp.29-30
Evelyn Schels, Elle (German Edition), February, “Heiter in den Untergang”, Illus: “The Outsides Are In”, “Moral Fantasia”, “The Value of Pictures”, color, pp.84-88
Arthur Danto, H. Ashley Kistler, et al., Repicturing Abstraction, catalogue essays for exhibition at Virginia Museum of Fine Arts, Illus: “Mantra to a Distracted God”, color, pp.46-47
Thomas Dreher, Pittura Immedia, “Antiquiertheit Der Malerei?”, catalogue essay for exhibition at Künstlerhaus Graz, Illus: “The Politics of Reality”, b/w, pp.27-35
Paul Goldberger, The New York Times Magazine, February 26, “The Art of His Choosing: Klaus Kertess Curates the 1995 Whitney Biennial”, pp.30-38
David Pagel, Los Angeles Times, March 2, “Jonathan Lasker at L.A. Louver: Lasker’s Own Purposeful Purposelessness”, p.F4
Raphael Rubinstein, Art in America, April, “Counter Resolution: Jonathan Lasker’s Approach to Abstraction”, Illus: “Hermeneutic Picture”, “5 of Spades”, “The Realm of the Quaint”, “Interpretive Painting”, “Expressions of an Uncertain Universe”, “Articulate Ecstasy”, color, pp.84-89
Santiago Olmo, Lapiz, April, “Color y Forma, Orden y Caos – Entrevista con Jonathan Lasker”, Illus: “Expressions of an Uncertain Universe”, “The View from Home Plate”, “Lemon Smash”, “Pre-Fab View”, “The Consciousness of Animals”, “Articulate Ecstasy”, “Heart in a Whirl”, “Natural Order”, two untitled oil studies, color, pp.56-63
Howard Risatti, New Art Examiner, April, “On View: Repicturing Abstraction”, Illus: “Mantra to a Distracted God”, b/w, pp.32, 33, 57
Timo Valjakka, Artforum, May, “Letter from Helsinki: Art to Finnish”, pp.27, 28
John Berger, Martin Hentschel, Raimund Stecker, Christoph Schreier, Das Abenteuer Der Malerei, catalogue essays for exhibition at Kunstverein Rheinland-Westfalen, Düsseldorf, Germany and Württembergischer Kunstverein, Stuttgart, Germany, Illus: “The Kissed and the Missed”, “Moral Highlights”, “Articulate Ecstasy”, color, pp.165-167
David Moos, Philip David Zelazo, Architecture of the Mind, catalogue essays for exhibition at Barbara Farber Gallery, unpaginated, Illus: study for “The Eternal Silence of Infinite Space”, color
Paola Van De Velde, Courant Nieuws, April 25, “Architecture of the Mind”
John Gayer, C Magazine, Summer, “Ars 95 at Helsinki”, pp.35-36
Saul Ostrow, Art Press, No. 16, “Un Ensemble Fragmenté: La Peinture Abstraite Aprés le Modernisme”, Illus: “5 of Spades”, “Scottie’s Wasteland”, “Lemon Smash”, color, p.158
George Stolz, Art News, September, “Jonathan Lasker at Soledad Lorenzo”, Illus: “The Divergence of Truth and Beauty”, b/w, p.160
Gerhard Finckh and Ralf Dank, “Positionen Beobachtungen zum Stand der Malerei in den 90er Jahren“, catalogue essays for exhibition at Folkwang Museum, Essen, Germany, Illus: “Infant Wisdom”, “Standards of Expression”, “Invective Decor”, “How to be Unique”, “Artistic Painting”, five untitled oil studies on paper, color, pp.39-49
Olivier Kaeppelin, Morceaux Choisis, “Jonathan Lasker: Public Love”, catalogue essay for exhibition of new F.N.A.C. acquisitions at Centre National d’Art Contemporain, Grenoble, France, Illus: “Public Love”, b/w, pp.119-120
Carlos Basualdo, Virginia Perez-Ratton, Mesotica, catalogue essays for exhibition at Museo de Arte y Diseño Contemporaneo, San Jose, Costa Rica, Illus: “Permanent Expressions”, color, p.41
Manfred Krause, Westdeutsche Allgemeine, June 23, “Meilensteine Im Labyrinth Der Malerei”, Illus: “Infant Wisdom”, “Artistic Painting”, b/w
Ludwig Wintzenburg, Neue Ruhr Zeitung, June 23, “Kunst Positionen Der Beliebigkeit”
Stefan Luddemann, Neue Osnabruecker Zeitung, June 27, “Malen Als Kühle Artistik”, Illus: “Artistic Painting”, b/w
Manfred Krause, Westdeutsche Allgemeine, July 4, “Totgesagte Leben Länger”, Illus: “Artistic Painting”, b/w
Matthias Kampmann, Westfalischer Anzeiger, July 5, “An Der Grenze Des Mediums”, Illus: “Artistic Painting”, b/w, p.6
Sophia Willems, Westdeutsche Zeitung, July 12, “Vom Mehrwert Der Malerei”
Kristina Struck, Evangelische Wochenzeitung für Das Rheinland, July 16, “Beobachtungen Zur Malerei Heute”
Sabine Müller, Kölner Stadt-Anzeiger, July 20, “Positionen In Der Malerei In Den 90er Jahren”
Frans Den Hartog Jäger, NRC Handelsblad, July 21, “Zoeken Naar Waar Verf En Illusie Elkaar Raken”
Anita Shah, Frankfurter Allgemeine Zeitung, July 25, “Der Maler Und Sein Double”
L. Kent Wolgamott, Lincoln Journal Star, November 26, “Critiques of Pure Abstraction at Sheldon Museum”, p.13H
1996 Demetrio Paparoni, Tema Celeste, Spring, “Conversation with Jonathan Lasker”, Illus: one untitled drawing, “The Eternal Silence of Infinite Space”, “Swank Sadness”, “Winter Abstraction”, color, pp.48-51
Christopher Knight, Los Angeles Times, February 11, “Critiques of Pure Abstraction: Curatorial Concept in Search of an Enemy”
Richard Milazzo, Tema Celeste, Spring, “L’Indifferenziata E I numana Ultima Cosa”, p.35
Patricia De Peuter, et al., Art at Work, catalogue for group exhibition at Banque Bruxelles Lambert, Belgium, Illus: “Real Imaginary”, color
Stuart Servetar, N.Y. Press, April 10-16, “Jonathan Lasker at Sperone Westwater”, p.89
Pepe Karmel, The New York Times, April 19, “Jonathan Lasker at Sperone Westwater”, p.C22
Anonymous, The New Yorker, April 22, “Jonathan Lasker at Sperone Westwater”
Enrique Juncosa, Arthur Danto, Demetrio Paparoni, Nuevas Abstracciones, catalogue essays for exhibition at Reina Sofia, Madrid, Spain, 175pp., Illus: “Reverse Society”, “Public Love”, “To Believe in Food”, color
Andrew Benjamin, What is Abstraction?, Academy Editions, paperbound, 64pp., Illus: “Expressions of an Uncertain Universe”, “Infant “, “Natural Order”
Claude Briand-Picard, Christophe Cuzin, Antoine Perrot, Peindre? , “Interview with Jonathan Lasker”, Positions Press, paperbound, 156pp.
Tahia Rivero, Ruth Auerbach, Maria Luz Cardenas, Raphael Rubinstein, Fernando Castro Florez, Jonathan Lasker, et al., Transatlantica, The America Non Representiva, catalogue essays for exhibition atMuseo Alejandro Otero, Illus: “Libidinous Prehistory”, color, pp.60,61
Pascale Le Thorel-Daviot, Petit Dictionnaire des Artistes Contemporains, Bordas Press, paperbound, 287 pp., Illus: “The Ecstasy of Logic”, color
Unauthored, Jonathan Lasker, catalogue for 1993 & 1996 exhibitions at Sperone Westwater, New York, unpaginated, Illus: “Sensible Arrangement”, “Winter Abstraction”, “Swank Sadness”, “Supplemental Reality”, “When Trees Become Flowers”, “Nearly Soul”, “The Value of Pictures”, “The Outsides Are In”, “Reverse Society”, “Between Theory and Reality”, “The Pride of Being”, “Moral Fantasia”, color
David A. Greene, Art + Text, May, “Screen at Friedrich Petzel Gallery”, pp.80, 81
David Moos, Jonathan Lasker, et al., Art & Design No.48: Painting in the Age of Artificial Intelligence, paperbound, 92 pp., Illus: “The Divergence of Truth and Beauty”, “The Consciousness of Animals”, “Let Us Become Ultimate”, “Supplemental Reality”, color, frontispiece, pp.6, 7, 10-13, 54-63
Jody Clowes, Isthmus, June 7, “Critiques of Pure Abstraction: Art Vs. Art”
Brooks Adams, Art in America, July, “The Abstract Century”, pp.59-60
Heidi Wiese, Westfälen-Blatt, July 26, “Schönheit ist Wieder Erlaubt: ‘Abstrakte Malerei Heute'”
Ralf Stiftel, Westfälischer Anzeiger, July 26, “Die Schönheit Kehrt Zurück: die Kunsthalle Bielefeld”, Illus: “To Believe in Food”, b/w
Stefan Lüddemann, Neue Osnabrücker Zeitung, July 27, “Kühle Bildstrategien: Abstrakte Malerei Heute”, Illus: “Public Love”, b/w
Manfred Strecker, Neue Westfälische Zeitung, July 27, “Unbeschwert Malen: ‘Abstrakte Malerei Heute'”
Heiner Stachelhaus, Neue Ruhr Zeitung, July 31, “Die Malerei ist Tot Es Lebe die Malerei: Bielefeld Zeigt die ‘Neuen Abstrakten'”
Lawrence Osborne, Peter Astrom, The New York Scene 1996, catalogue essays for exhibition at Gotland’s Konstmuseum, Gotland, Sweden, Illus: “Symetrical Diversions”, color, p.10
Anonymous, Bielefelder Spiegel, August 1, “Abstrakte Malerei Heute Neuvas Abstracciones”, Illus: “To Believe in Food”, b/w, p.20
Veit-Mario Thiede, Main Echo, August 2, “Alles ist Möglich: Abstrakte Malerei Heute”
Michael-Georg Müller, Neue Westfälische Rundschau, August 2, “Geschüttelte Farben und Grosse Formate: ‘Abstrakte Malerei Heute'”
Klaus Zimmer, Cellesche Zeitung, August 6, “Das Erlebnis der Form ist den Künstlern Wichtig: Künsthalle Bielefeld Zeigt ‘ Abstrakte Malerei Heute'”
Veit-Mario Thiede, Trierischer Volksfreund, August 10/11, “An Rosa Schokolade Glauben: Eine Ausstellung in Bielefeld”
Anonymous, Aktuelle Kunst, “Die Malerei der Unbegrenzten Möglichkeiten”, Illus: “Public Love”, “To Believe in Food”, b/w
Anna Moszynska, Untitled, Summer, “New York Round-Up”, p.8
David Moos, Donna De Salvo, Forces of the Fifties, catalogue essays for exhibition at Wexner Center, Columbus, OH, Illus: “Expressions of an Uncertain Universe”, b/w, p.35
Bernhard Burgi, Playpen & Corpus Delirium, catalogue essay for exhibition at Kunsthalle Zurich, Illus: “Rural Geometry”, b/w, pp.42-43
Tony Godfrey, Melissa Larner, et al., The 20th Century Artbook, Phaidon Press, hardbound, 512pp., Illus: “Public Love”, color
W.J.T. Mitchell, R. Feinstein, S. Kaneda, C. Van Schoonbeck, Re: Fab, catalogue essays for exhibition at University of South Florida, Tampa, FL, Illus: “Chimerical Seasons”, “Medium Exaltation”, color, pp.18, 20
Demetrio Paparoni, Tema Celeste, Autumn, “L’Astrazione Ridefinita”, Illlus: “Rustic Psyche”, “Digital Affection”, color, pp.38-39
Arthur Danto, Tema Celeste, Autumn, “The Pure, The Impure and The Non-Pure”, Illus: “To Believe in Food”, “Public Love”, color, p.52
Thomas Kellein, Hans-Michael Herzog, A. Danto, E. Juncosa, Abstrakte Malerei Heute-Nuevas Abstracciones, catalogue essays for exhibition at Kunsthalle, Bielefeld, Germany, Illus: “To Believe in Food”, “Public Love”, color, pp.22-23
Mel Watkin, Martin Ball, Reconditioned Abstraction, catalogue essays for exhibition at Forum for Contemporary Art, St. Louis, MO, 20pp., Illus: “Permanent Expressions”, b/w, “Selective Identity”, color
Eddie Silva, Riverfront Times, November 27-December 3, “Reconditioned Abstraction: The Irony Curtain”, p.1
Robert W. Duffy, St. Louis Post Dispatch, December 1, “Reconditioned Abstraction: It’s Abstract All Right”
1997 Eric De Chassey, Camille Morineau, Abstraction/Abstractions: Geometries Provisoires, catalogue essays for exhibition at Musee d’Art Moderne, St. Etienne, France, 224pp., Illus: “Animal Progress”, “Second Nature”, “When Trees Become Flowers”, “The Kissed and the Missed”, color
Richard Polsky, Art Market Guide: Contemporary American Art, The Marlit Press, paperbound, 250pp.
Raphaël Rubinstein, Peintures Croisées, L’Harmattan Press, paperbound, 186pp., Illus: “Expressions of an Uncertain Universe”, b/w
Demetrio Paparoni, Il Corpo Parlante Dell’Arte, Castelvecchi Press, paperbound, 186pp., Illus: “The Picture of Discretion”, color
Demetrio Paparoni, Il Corpo Vedente Dell’Arte, Castelvecchi Press, paperbound, 126pp., Illus: “Little Fatty”, color
Christophe Domino, Beaux-Arts, February, “Abstraction/Abstractions: L’Abstraction Derriere La Grille”, Illus: “When Trees Become Flowers”, color, p.26
Ferdinand Protzman, The Washington Post, March 1, “Pushing the Envelope, & Drawing On It: NY On Paper”, Illus: untitled drawing, b/w, p.C2
Michael Archer, Art Since 1960, Thames & Hudson, paperbound, 224pp.
Olivia Georgia, Lilly Wei, After the Fall: Aspects of Abstract Painting Since 1970, Vol. 1, catalogue for group exhibition at Newhouse Center for Contemporary Art, Staten Island, NY, 191pp., Illus: “Beat the System”, color
Olivia Georgia, David Carrier, Peggy Cyphers, et al., After the Fall: Aspects of Abstract Painting Since 1970, Vol. 2, catalogue of responses to exhibition at Newhouse Center for Contemporary Art, Staten Island, NY, 59pp.
Christine Buci-Glucksmann, Rue Descartes 16, April, “Vers Une Post-Abstraction”, pp.54-62
Raphaël Rubinstein, Rue Descartes 16, April, “Le Sens Plastique de la Peinture”, pp.67-71
Catherine Millet, Art Press, April, “Geometries Provisoires”, Illus: “When Trees Become Flowers”, b/w, pp.80-82
Holland Cotter, The New York Times, April 11, “An Era Still Driven To Abstraction: Review of ‘After the Fall: Turning the Corner'”, p.C24
Arthur C. Danto, Demetrio Paparoni, & Mario Perniola, Tema Celeste, May/June, “Style, Narrative and Post-History – A Conversation”, pp.40-47,106-110
Stéphane Rey, L’Echo, June 6, “Jonathan Lasker at Velge et Noirhomme”
Pierre-Olivier Rollin, Le Vif/ L’Express: Weekend, June 13, “La Peinture Selon Jonathan Lasker: Galerie Velge et Noirehomme”, Illus: untitled oil study on paper, color, p.53
Bert Popelier, Tijd Cultuur, June 16, “De oppervlakten van Lasker: Jonathan Lasker at Velge et Noirhomme”
Demetrio Paparoni, Noema, June/ July, “Ein Neues Verstaendnis von Abstraktion”, pp.42-47
Eric de Chassey, L’Oeil, July/August, “Jonathan Lasker at Thaddaeus Ropac: L’Abstrait Hybride”, Illus: “For the Eye of the Beautiful Beholder”, color, p.15
Keith Patrick, Contemporary Visual Arts, #15, Summer, “Editorial”, pp.13-15
Anna Moszynska, Peter Schjeldahl, et al., The Age of Modernism: Art in the Twentieth Century, Hatje Verlag, hardbound, 672 pp., Illus: “Artistic Painting”, b/w
Wayne R. Dynes, Turning the Corner: Abstraction at the End of the Twentieth Century, catalogue essay for exhibition at Hunter College, New York, Illus: untitled study, b/w
Olivier Gourvil, Eric de Chassey, Jonathan Lasker, Raphaël Rubinstein, et al., Tableau Territoires Actuels, École Régionale Des Beaux-Arts de Valence, paperbound, 93pp., Illus: “When Trees Become Flowers”, “Sensible Arrangement”, “Live Life Live”, b/w
Barry Schwabsky, The Widening Circle: Consequences of Modernism in Contemporary Art, Cambridge University Press, paperbound, 230pp.
Christine Buci-Glucksmann, Trans #4, “Une Abstraction Impure: de Marcel Duchamp à la Cartographie”, pp.122-130
Saul Ostrow, Essential Gestures, catalogue essay for exhibition at Johnson County Community College Gallery of Art, unpaginated, Illus: “Stable Aberrance”, color
Suzanne Slesin, House & Garden, September, “Frame Work”, Illus: “The Picture of Discretion”, color, p.213
Ingo Springenschmid, Licht Raum…Schwarz, catalogue essay for exhibition at Künstlerhaus Palais Thurn und Taxis, Illus: Installation view of “Inlet”, “The Trophies”, “Invective Decor”, color
Brian Muller, Flash Art, October, “Abstraction/ Abstractions, Géometries Provisoires”, p.77
Jürgen Schmidt, Westfalen-Blatt, November 28, “Aus der Not Eine Tugend Gemacht”, Illus: “The Eternal Silence of Infinite Space”, b/w
Wolfgang Morisse, Die Glocke, November 28, “Jonathan Lasker in der Kunsthalle: Farbig, Festlich und Humorvoll”
Eckhard Britsch, Neue Westfälische Zeitung, November 29, “Jonathan Lasker at Kunsthalle Bielefeld: Malerei von Eingefrorener Spontaneitat”, Illus: “For the Eye of the Beautiful Beholder”, color
Alice Thorson, The Kansas City Star, November 30, “New Realities of Abstraction at Johnson County Community College”, pp.L1,L7
Unauthored, Live, December 1, “Jonathan Lasker Gemälde 1977- 1997”, Illus: “Love’s Rhetoric”, color
Unauthored, Tips, December 1, “Jonathan Lasker: Abstrakt & Heftig”, Illus: “Love’s Rhetoric”, color
Jürgen Schmidt, Westfalen-Blatt, December 1, “Jonathan Lasker in der Kunsthalle: Weg Aus der Sackgasse Gefunden”, Illus: “For the Eye of the Beautiful Beholder”, b/w
Unauthored, Bielefelder Spiegel, December 1, “Jonathan Lasker: Gemälde 1977 Bis 1997”
Susanne Lingemann, Art, December, “Mit Bass, Schlagzeug und Gitarre”, Illus: “It’s A Free Country”, “Nearly Soul”, “Today’s Universe”, “Simple Painting”, “5 of Spades”, color, pp.88-91
Ann Hindry, Art Press, December, “Interview with Jonathan Lasker: Painting, Impersonality, Critique”, Illus: “Believe in Everything”, “Why People Are Nice”, “A Fine Day in the Wrong Universe”, “The Art of Good Appearance”, “Psychic Governance”, color, pp.20-25
Jim Fisher, The Campus Ledger, December 4, “New Art on Display at Johnson County Community College: Essential Gestures”, p.4B
Achim Lettmann, Westfälischer Anzeiger, December 4, “Die Linie Wird Zur Fläche: Die Bielefelder Kunsthalle Zeigt Jonathan Laskers Abstrakte Malerei”, Illus: “Formidable Embodiment”, b/w
Elfi Kreis, Der Tagesspiegel, December 6, “Jonathan Lasker at Kienzle & Gmeiner: Am Anfang der Endlosschleife”, Illus: “That It May End”, b/w, p.28
Christiane Hoffmans, Die Welt am Sonntag, December 7, “Jonathan Laskers Erste Deutsche Einzel-Ausstellung: Kunsthalle, Bielefeld”, Illus: “To Believe in Food”, b/w
Georg Imdahl, Frankfurter Allgemeine Zeitung, December 12, “Jonathan Lasker at the Kunsthalle Bielefeld: Ein Gefuhlsausbruch findet nicht statt”, Illus: “Confessions of a Groundhog Fancier”, b/w, p.44
Anonymous, Prisma, December 13, “Bielefeld: Ölgemälde, die Schockieren”, Illus: “Popular Psyche”, color
Hans-Michael Herzog and Konrad Bitterli, with an interview between H.M. Herzog and the artist, Jonathan Lasker: Paintings 1977-1997, catalogue for solo retrospective exhibition at the Kunsthalle Bielefeld, Bielefeld, Germany; Stedelijk Museum, Amsterdam, Holland and Kunstverein St. Gallen im Kunstmuseum, St. Gallen, Switzerland, published by Cantz Verlag, hardbound, 119pp., Illus: 64 paintings, color
1998 Jeff Daniel, St. Louis Post-Dispatch, January 18, “Reality and Abstraction: Blurring the Lines”, p. D4
Paola Van De Velde, De Telegraaf, February 11, “Groot Overzicht Jonathan Lasker in Stedelijk: De Orde Walst Met de Chaos”, Illus:”Simple Painting”, b/w, p. T13
Gerard Brown, Philadelphia Weekly, February 11, review of “Pop Abstraction: Snap, Crackle, Pop!”, p.36
Alice Thorson, The Kansas City Star, February 12, “Art to Art Talk with David Moos”, p. F6
Rogier Schumacher, Het Patrool, February 17, “Goede Schilderkunst is Altijd Conceptueel: Jonathan Lasker at the Stedelijk Museum”, Illus: “Nature Study”, b/w
Janneke Wesseling, NRC Handelsblad, February 25, “Overzicht Van Abstracte Schilderijen in Het Stedelijk Museum: Lasker Worstelt Met de Gordijnen”, Illus: “It’s A Free Country”, b/w
Willem Van Beek, Kunstbeeld, March, “Jonathan Lasker: Eerste Solo Tentoonstelling in Ons Land”, Illus: “Illinois”, “5 of Spades”, “Sensible Arrangement”, color, pp.22-24
Wilma Süto, Volkskrant, March 2, “Lasker Blaast de Schilderkunst Brutaal Nieuw Leven in: Jonathan Lasker at the Stedelijk Museum”, Illus: “Public Love”, b/w
Robin Rice, Philadelphia City Paper, March 6, review of “Pop Abstraction”: “Snap! Crackle! Pop Art!”
Sven Lütticken, De Witte Raaf, March/April, “Culturele Promiscuïteit: Jonathan Lasker, Het Sacrale en Het Banale”, Illus: “How To Be”, “The Ectasy of Logic”, b/w, pp.22-23
Anonymous, St. Galler Nachrichten, April 23, “Jonathan Lasker im Kunstmuseum St. Gallen: Kompromisslose Kunst”, p.45
Lotta Döbling, Britta Kjellgren, Lotta Mossum, Maria Saveland, Material, Spring, “Interview with Jonathan Lasker”, pp.18-19
Bera Nordel, Arterias: Collection of Contemporary Art Fundació la Caixa, catalogue essay for group exhibition at Malmö Konsthall, unpaginated, Illus: “Natural Order”, color
Anonymous, Madame, May, “St. Gallen – Kritischer Dialog: Jonathan Lasker im Kunstmuseum”
Gerhard Mack, St. Gallen Tagblatt, May 2, “Malerei ist meine Sprache: Ein Gespräch mit dem Amerikanischen Maler Jonathan Lasker”, p.14
Gerhard Mack, St. Gallen Tagblatt, May 4, “Sprachnot und Perfektion: Das Kunstmuseum St. Gallen zeigt Jonathan Lasker”, p.11
Peter E. Schaufelberger, Südkurier, May 7, “Kunst aus dem Selbstbedienungsladen: Retrospektive Jonathan Lasker im Kunstmuseum St. Gallen”
Gerhard Mack, Cash, May 8, “Malen nach dem Zufallsprinzip: Das Kunstmuseum St. Gallen zeigt eine Retrospektive des US- Künstlers Jonathan Lasker”, p.69
Holland Cotter, The New York Times, May 15, review of “Exploiting the Abstract”: “A Tour Through Chelsea”, pp. E29, E33
Gerhard Mack, Kunst Bulletin, May 25, “St. Gallen: Jonathan Lasker im Kunstmuseum”, Illus: “Today’s Universe”, color, p.43
Brita Polzer, Annabelle, Issue No. 11, “Kunst: Jonathan Lasker Retrospective”, Illus: “The Banner of Daily Existence”, color, p.19
Martine Hövermann & Nina Roth, Akzent, June, “Kultur: Jonathan Lasker im Kunstmuseum St. Gallen”, pp.32-33
Samuel Herzog, Neue Zürcher Zeitung, June 5, review of Jonathan Lasker retrospective: “Nonchalance im Steinbruch der Moderne”, p.46
Mary Murphy, New Art Examiner, July/ August, “Pop Abstraction”, p.49
Unauthored, L’oeil, July/ August, “Centre Nicolas Pomel: Exposition Lasker bis”, Illus: “Real Imaginary”, color, p.21
Christine Buci-Glucksman, Parachute, July/ August/ September, “Vers une Post-Abstraction”, pp.47-50, Illus: “Assertive Existence”, b/w, p.47
Unauthored, La Montagne, July 11, “L’escale Issoirienne d’un peintre New-yorkais”, Illus: “How To Be Unique”, color, p. 3
Dion Kliner, Flash Art, Summer, “After the Disasteroid”, Illus: “They Do Not Exclude”, color, pp.113-115
Barbara Pollack, ARTnews, Summer, “Getting a Bang for Your Buck”, pp.144-149
Olivier Kaeppelin & Michel Bulteau, Jonathan Lasker: Paintings 1986-1997, catalogue essay and interview with the artist for exhibition at Centre Nicolas Pomel, paperbound, 87pp., Illus: 30 paintings, color
Unauthored, Beaux Arts, September, “Jonathan Lasker à Issoire”, Illus: “Popular Psyche”, color, p.34
Richard Milazzo, New Observations, Issue #119, “Excerpts From The Undifferentiated Truth of Art”, pp.9-12
H. H. Arnason & Marla Prather, History of Modern Art, Fourth Edition, Harry N. Abrams Publications, hardbound, 856pp., Illus: “To Believe in Food”, color
Guillermo Balbona, El Diario Montañés, August 14, “La Exposition Colectiva ‘Abstracciones'”, p.64
Alexia Gómez Pelayo, Alerta, August 14, “‘Abstracciones’ de Nueva York”
Unauthored, Le Monde, August 21, “Issoire: Jonathan Lasker”
Gabriel Rodriguez, El Diario Montañés, August 27, “‘Abstracciones’ Nueva York, en Siboney”
Karl Ruhrberg, Manfred Schneckenburger, Christiane Fricke, Klaus Honnef & Ingo Walther, Art of the 20th Century, Benedikt Taschen Verlag, hardbound, 840pp., Illus: “Reasonable Painting”, color
Wulf von Lucius & Gunnar Kaldewey, Making Artist Books Today: A Workshop in Poestenkill, N.Y., paperbound, 121pp., Lucius & Lucius Verlag, Stuttgart, Germany, Illus: 2 Artist Books, “Cave Pictures” and “Not a First”, b/w
Vladimir Tupolev, Abstracciones, catalogue essay for group exhibition at Galeria Siboney, Santander, Spain, unpaginated, Illus: “Articulate Ecstasy”, color
Ken Johnson, The New York Times, October 23, “Ideas for the Home”, p.36
Tom Hinson and Caroline Jirousek, Cleveland Collects Contemporary Art, catalogue essays for group exhibition at the Cleveland Museum of Art, 208pp., Illus: “False Transcendence”, color
Mariano Navarro, La Razon: El Cultural, November 29, “Arrebatador Jonathan Lasker en Soledad Lorenzo”, Illus: “Precise Love”, color, p.32
Kevin Power, Jonathan Lasker, “The Beauty of Simple Complexites”, catalogue essay for exhibition at Galeria Soledad Lorenzo, Madrid, Spain, 45pp., Illus: “Precise Love”, “Modern Weeping”, “If Pebbles Were Boulders”, “A History of Common Moments”, “Things Have Reasons”, “Were 8 on Its Side”, “Competitive Exclusion”, four untitled drawings, color
Marcos-Ricardo Barnatan, El Mundo, November 28, “Jonathan Lasker en Soledad Lorenzo: Contradicciones Pictoricas”, Illus: untitled drawing, b/w
Anonymous, Umbrella, December, “Reviews: Jonathan Lasker Complete Essays 1984-1998”, p.121
Fernando Castro, ABC Cultural, December 3, “Laberintos Yuxtapuestos de Lasker en Soledad Lorenzo”, Illus: untitled drawing, b/w
Carlota de Alfonso, El Punto de Las Artes, December 11-17, “Jonathan Lasker en Soledad Lorenzo: Orden en el Desorden”, Illus: “A History of Common Moments”
Anonymous, Vogue, December, “Calendario: Jonathan Lasker en Soledad Lorenzo”
Monica Prat, Arte Y Parte, December, “Jonathan Lasker en Soledad Lorenzo”, Illus: “Things Have Reasons”, color
1999 Mark Daniel Cohen, Review, January 15, “Robert Reid Paintings: The Early Years”, pp.20-22
Alan Jones, Tema Celeste, January/February, “Giusseppi Capogrossi”, Illus: “Between Theory and Reality”, color, p.80
Roberta Smith, The New York Times, February 26, “Free Coke: Group Exhibit at Green Naftali”, p. E41
Anna Moszynska, Contemporary Visual Arts, Issue 22, “Jackson Pollock Revisited”, Illus: “Formidable Embodiment”, color, pp. 46-53
Michael Auping, ARTnews, May, “Piet Mondrian: Primary Colorist”, Illus: “Artistic Painting”, color, p.141
David Moos, Art Papers, May-June, “According to What: On Abstract Painting Circa 1999”, Illus: “For the Eye of the Beautiful Beholder”, color, pp.16-25
Demetrio Paparoni, Tema Celeste, May-June, “Matissiana”, Illus: “5 of Spades”, “Real Imaginary”, color, pp.56-71
Mark Staff Brandl, The Art Book, June, “Jonathan Lasker: Complete Essays 1984-1998 & Jonathan Lasker: Gemaelde / Paintings 1977-1997”, Illus: “The Banner of Daily Existence”, b/w, pp.21-22
Anonymous, Visual Artists Salute Harvey Lichtenstein, catalogue for benefit group exhibition at Feigen Contemporary, unpaginated, Illus: untitled drawing, b/w
Christine Buci-Glucksmann, Abstrakt, “From Abstraction to Abstracts”, catalogue essay for group exhibition at Gallerie Thaddaeus Ropac, Salzburg, Austria, unpaginated, Illus: “Dat is Dot”, “A Fine Day in the Wrong Universe”, “Perpetual Presence”, color
Katy Siegel, Artforum, September, “Preview – Jonathan Lasker: Selective Identity”, p.40
Alice Thorson, The Kansas City Star, September 5, “Jonathan Lasker: Selective Identity”, Illus: “Natural Design”, color
David Moos and Michael Auping, Jonathan Lasker: Selective Identity- Paintings from the 1990s, catalogue for solo exhibition at the Forum for Contemporary Art, St. Louis, MO; The Power Plant Contemporary Art Gallery at Harbourfront Centre, Toronto, Canada; Rose Art Museum, Brandeis University, Waltham, MA and Birmingham Museum of Art, Birmingham, AL, published by the Birmingham Museum of Art, paperbound, 104pp., Illus: 12 oil studies, 25 paintings, color
Alice Thorson, The Kansas City Star, October 3, “Eye of the Collector: The JCCC Collection”, Illus: untitled oil study, color, pp. J1, J3
Jeff Daniel, St. Louis Post – Dispatch, October 10, “Selective Identity: Osver and Lasker are Contemporary Companions”, Illus: “Collective Singularity”, b/w, p.6
Eddie Silva, The Riverfront Times, October 13-19, “Still Life: Jonathan Lasker; Selective Identity”, Illus: “Selective Identity”, color, p.56
Mario Naves, The New York Observer, October 25, “Declaring Bankruptcy on Abstraction: Jonathan Lasker at Sperone Westwater”, Illus: “Brainiac in a Self-Regulating Environment”, b/w, p.17
Mallarie N. Zimmer, Intermission, October, “Jonathan Lasker: Selective Identity”, Illus: “Hermeneutic Picture”, b/w, p.19
Adrian Dannatt, The Art Newspaper, November, “Jonathan Lasker at Sperone Westwater: Lasker’s Long Reach”, pp.70-71
Marjorie Welish, Signifying Art: Essays on Art after 1960, “Style Makes the Mark (Jonathan Lasker)”, Cambridge University Press, paperbound, 321pp., Illus: “Cosmic Self-Evidence”, b/w
Enrique Juncosa, Yve-Alain Bois, Rosalind Krauss, et al., Abstraction, Gesture, Écriture: Paintings from the Daros Collection, Scalo Publications, hardbound, 181pp., Illus: “When Dreams Work”, “Cosmic Shorthand”, “The Big Picture”, color
Jeff Daniel, ARTnews, December, “Jonathan Lasker at Forum for Contemporary Art, St. Louis”, Illus: “Collective Singularity”, color, p. 176
Blake Gopnik, The Toronto Globe and Mail, December 10, “Jonathan Lasker at the Power Plant: Lasker’s Neurotic Art Belongs on the Couch”, Illus: “The Ecstasy of Logic”, “They Do Not Exclude”, color, p. R5
Anonymous, Canadian Art, Winter, “Fast Forward: Jonathan Lasker at the Power Plant”, Illus: “Let Us Become Ultimate”, color, p.12
Dawn Fulcher, Contemporary Visual Arts, Issue 26, “Jonathan Lasker: Selective Identity; Paintings From the 90s”, Illus: “Winter Abstraction”, b/w, pp.80-81
Mark Strand, Robert Pincus-Whitten, Wayne Kostenbaum, Timothy Greenfield-Sanders Art World, Fotofolio, hardbound, 147pp.
2000 Sam Hunter, John Jacobus, and Daniel Wheeler, Modern Art, 3rd Revised Edition, hardbound, 448pp., Harry N. Abrams, Inc., I llus: “The Eternal Silence of Infinite Space”, color
Kate Hackman, Review, January, “Jan Weiner Gallery: Universal Abstraction 2000”, p.13
Alice Thorson, The Kansas City Star, January 16, “Driven to Abstraction: ‘Universal Abstraction 2000′”, pp.J1, J4
Betty Ann Jordan, Where: Toronto, January, “Drawing the Line: Jonathan Lasker: Selective Identity”, Illus: “They Do Not Exclude”, “Let Us Become Ultimate”, color, pp.14-15
Jeffrey Kastner, ARTnews, February, “Jonathan Lasker at Sperone Westwater”, Illus: “Domestic Setting with Post-Partum Anxiety”, color, p.163
Kate Hackman, Review, February, “Universal Abstraction 2000: A Record of Painting’s Rebirth at the End of the 20th Century”, pp.22-23
W. Jackson Rushing, New Art Examiner, March, “Reviews: Jonathan Lasker: Selective Identity at Forum for Contemporary Art, St. Louis”, Illus: “Let Us Become Ultimate”, b/w, pp.56-57
Arthur C. Danto, Tema Celeste, March/April, “Lo studioso e il lavoratore. Le alterne sorti di pittura e scultura”, Illus: “Desirable Stasis” (detail), color, pp. 44-49
Anonymous, The Brandeis Reporter, March 14-April 17, “At the Rose: Lasker: Selective Identity”, Illus: “Reverse Society”
Mary Sherman, Boston Herald, April 10, “Jonathan Lasker: Selective Identity; Lasker’s Abstract Vocabulary is Eloquent”, p.32
Tony Godfrey, Contemporary Visual Arts, Issue 28, “Jonathan Lasker: The Dialectics of Touch”, Illus: “An Explanation of Ice for a Summer Insect”, “When Dreams Work”, “To Regain Virginity”, “Public Love”, “Domestic Setting with Post-Partum Anxiety”, “The Big Picture”, color, pp.22-27 and cover
Michael Auping, The Chronicle of Higher Education, May 5, “Jonathan Lasker at Rose Art Museum: Editing the Subconscious with a Brush”, Illus: “Hermeneutic Picture”, “Visible Thoughts”, color, p.68
Cate McQuaid, Boston Sunday Globe, May 7, “Jonathan Lasker: Selective Identity; Lasker’s Squiggles and the Pride of Being”, Illus: “They Do Not Exclude”, “Stable Aberrance”, color
Gary Michael Dault, Canadian Art, Spring, “Don’t Look At Me Like That”, Illus: “The History of the Boudoir”, color, pp.62-69
Martin Coomer, Time Out (London), May 17-24, “Paintings, I Love”, p.55
Demetrio Paparoni, Tema Celeste, May/June, “L’astrazione ridefinita”, Illus: “Digital Affection”, “Rustic Psyche”, color, pp.126-131
Jane Longshore, Black & White, June 8-21, “Point and Counterpoint -Jonathan Lasker: Selective Identity”, Illus: “Hermeneutic Picture”, b/w
Thomas B. Harrison, Mobile Register, June 18, “Lasker Exhibition Opens Summer of Color in Birmingham”, Illus: “They Do Not Exclude”, color, pp.1G, 3G
Anonymous, Opelika-Auburn News, June 22, “Lasker Displays ‘Selective Identity’ at Birmingham Museum”, Illus: “Swank Sadness”, “Selective Identity”, “Visible Thoughts”, color
Nancy Raabe, Birmingham News, June 23, “Critics’ Choices – Jonathan Lasker: Selective Identity”, Illus: “Winter Abstraction”
Kristin Lenz, Birmingham Post-Herald, June 23, “Museum Features New Abstract Show – Jonathan Lasker: Selective Identity”, Illus: study for “Brainiac in a Self-Regulating Environment”, b/w
Nancy Raabe, Birmingham News, June 25, “Art for the 21st Century -Jonathan Lasker: Selective Identity”, Illus:”Precise Sadness”, “Chimerical Seasons”, color, pp.1F, 8F
Alan Jones, Claudio Spadoni, et al., Arte Americana: Ultima Decennio, catalogue essays for group exhibition at Loggetta Lombardesca, Ravenna, Italy, 127pp., Illus: “An Artful Scene”, “Fake Freak”, color
Anna Minola, Maria Cristina Mundici, Francesco Poli, and Maria Teresa Roberto, editors with numerous contributors, Gian Enzo Sperone: 35 Anni di Mostre tra Europa e America, Vols. 1 & 2, Hopeful-monster editore, paperbound, 499pp., Illus: “Euphoric Routines”, “How To Be”, “To An Object of Love”, “The Power of Weakness”, “Some Like Love”, “Winter Abstraction”, “Sensible Arrangement”, “Supplemental Reality”, “Brainiac in a Self-Regulating Environment”, “An Explanation of Ice for a Summer Insect”, “Upon the Modern Prairie”, color
Andrea Busto, Super-Abstr-action, catalogue essay for group exhibition at The Box, Turin, Italy, and Galerie les Filles du Calvaire, Paris, France, hardbound, unpaginated, Illus: untitled oil study, “Things Are Relative”, color
James R. Nelson, Birmingham News, July 9, “Lasker’s Nonabstract Abstractions are Reactions to Creative Thought – Jonathan Lasker: Selective Identity”
Jean-Claude Le Gouic, Art Présence, July/September, “Abstraction, entre action et réflexion”, Illus: “Things Are Relative”, b/w, pp.26-31
Philippe Dagen, Le Monde, September 18, “Jonathan Lasker at Thaddaeus Ropac: La peinture, entre fabrication et réinvention”
Sibylle Omlin, Beat Wismer; Editors, Das Gedachtnis Der Malerei, a book of writings to accompany group exhibition at Aargaur Kunsthaus, Aarau, Switzerland, hardbound, 432pp., Illus: “The Banner of Daily Existence”, “When Dreams Work”, color
Barry Schwabsky, Artforum, September, “Jonathan Lasker: Selective Identity”, Illus: “The History of the Boudoir”, “Conspicuous Absence”, color, p.175
Olivier Cena, Télérama, September 27, “Jonathan Lasker at Thaddaeus Ropac: Sous l’ombre de Satan”
David Bonetti, San Francisco Examiner, October 12, “Gallery Watch: Lasker, Marcaccio, Usle”, p. C11
Alice Thorson, The Kansas City Star, October 15, “The Abstract Thoughts of Jonathan Lasker”, Illus: “The Power of Weakness” (print), “Born Yesterday” (print), color, pp. I-1,I-3
Jan Marsh, Review Magazine (Kansas City), October, “Lasker at Jan Weiner”
Robert Rosenblum, Harald Szeemann, et al., da Warhol al 2000: Gian Enzo Sperone 35 anni di mostre fra Europa e America, catalogue essays for group exhibition at Palazzo Cavour, Turin, Italy, Hopefulmonster editore, paperbound, unpaginated, Illus: “Why People Are Nice”, color
Kenneth Baker, San Francisco Chronicle, October 28, “Odd Abstractions: Lasker, Marcaccio, Usle”, Illus: “Animal Progress”, b/w
Giscard d’Estaing, Didier Cultiaux, Jean-Charles Vergne, Eric Suchere, et al., Aux Dernières Nouvelles:La Collection du FRAC d’Auvergne 1990-2000, Un, Deux…Quatre Editions, paperbound, 322pp., Illus:”Dat is Dot”, color
Edward Albee, Carl Spielvogel, and Lorinda Ash, Works on Paper 2000, catalogue for group exhibition at the American Embassy, Bratislava, Slovakia, paperbound, unpaginated, Illus: study for “Articulate Ecstasy”, color
Karen Wilkin, John Ashbery, and Hilton Kramer, Tibor de Nagy Gallery: The First Fifty Years, 1950-2000, catalogue for group exhibition, paperbound, 95pp., Illus: “Picket”, color
Martin Damus, Kunst im 20. Jahrhundert, published by Rowohlt Taschenbuch Verlag, paperbound, 432pp.
Anna Maria Guasch, Los Manifestos Del Arte Posmoderno, Ediciones Akal, S.A., paperbound, 398pp.
2001 Richard Milazzo, Caravaggio on the Beach: Essays on Art in the 1990’s, “The Disasters of Painting”, Editions d”Afrique du Nord, paperbound, 185pp., Illus: “The Consciousness of Animals”, b/w
Anonymous, Art On Paper, February, “Working Proof: Jonathan Lasker”, p.79
Michel Gauthier, Les Cahiers du Musée Nationale d’Art Moderne, No. 75, Spring, “Mona dans l’espace: Sur les ‘Native Drawings’ de Pascal Convert”, Illus: “Formidable Embodiment”, pp.5-21
Enrique Juncosa, The Thrill of Seeing: Willem de Kooning and Post-Modern Painting, catalogue essay for exhibition at IVAM, Valencia, Spain, and Fundació “La Caixa”, Madrid, Spain, Illus: “The Eternal Silence of Infinite Space”, color, pp.9-29
David Ryan, Art Papers, September/October, “Visible Thoughts: An Interview with Jonathan Lasker”, Illus: “Moody Room”, “Sensible Arrangement”, “Double Play”, study for “Double Play”, “These Are Not Our Dreams”, study for “These Are Not Our Dreams”, color, pp.28-33
Noemi Smolik, et al., American Art from the Goetz Collection, catalogue essays for group exhibition at Rudolfinum Centre for Contemporary Art, Prague, Czech Republic, paperbound, 91pp., Illus: 2 untitled studies, study for “Reverse Society”, “Cave Painting”, “Standards of Expression”, “Infant Wisdom”, color
Lene Burkard, Erik Steffensen, Dan Cameron, et al., Patterns: Between Object and Arabesque, catalogue essays for group exhibition at Kunsthallen Brandts Klaedefabrik, Odense, Denmark, paperbound, 168pp., Illus: “Thoughtfully, They Weep”, “Animal Progress”, “Competitive Exclusion”, color
Ken Johnson, The New York Times, September 28, “Boxy at Dee/Glasoe”, p.E36
Sophie Allgardh, Svenska Dagbladet, September 29, “Jonathan Lasker at Galleri Lars Bohman”, Illus: “Quantifiable Love”, b/w
Elke Keiper, Susanne Jakob and Klaus Merkel, Die Sammlung als Bild: Kugelkopf, catalogue essays for group exhibition at Staedtische Galerie Waldkraiburg, paperbound, 56 pp., Illus: “Confessions of a Groundhog Fancier”, color, “Pot o’ Gold”, “El”, b/w
Robert Rosenblum, Green on Greene, catalogue for group exhibition at Sperone Westwater, hardbound, unpaginated, Illus: “Medium Exaltation”, color
Linda Yablonsky, Time Out (New York), November 22-29, “Green on Greene”, Illus: “Medium Exaltation”, color, p.58
Roberta Smith, The New York Times, December 7, “Green on Greene”, p. E32
Ken Johnson, The New York Times, December 21, “Sunbursts and the Earth’s Shelter”, p. E45
Sandro Bocola, Timelines: L’Art Moderne 1870-2000, hardbound, 175pp., Taschen Verlag, Illus: “To Believe in Food”, color
Christine Buci-Glucksmann, Ligeia: Dossiers sur l’Art: Abstractions, October 2001-June 2002, “De l’Abstraction aux Abstracts”, pp.27-31
Christine Buci-Glucksmann, Ligeia: Dossiers sur l’Art: Abstractions, October 2001-June 2002, “Une Abstraction a l”Époque du Virtuel”, Illus: “Expressions Become Things”, b/w, pp.33-39
Catherine Perret, Ligeia: Dossiers sur l’Art: Abstractions, October 2001- June 2002, “Faire un Tableau Comme On Enroule une Bobine de Film- Cinéma”, pp.40-46
Eric Suchère and Jean-Charles Vergne, Ligeia: Dossiers sur l’Art: Abstractions, October 2001-June 2002, “Deux en Un”, Illus: “Dat is Dot”, b/w, pp.47-56
Éric de Chassey, Ligeia: Dossiers sur l’Art: Abstractions, October 2001-June 2002, “Reconnaître l’Épaisseur du Médium”, Illus: “When Trees Become Flowers”, b/w, pp.66-72
Christian Trémeau, Ligeia: Dossiers sur l’Art: Abstractions, October 2001-June 2002, “Le Crisscross Pop Art/ Supports-Surfaces Croiser les Faire”, pp.73-83
Olivier Gourvil, Ligeia: Dossiers sur l’Art: Abstractions, October 2001-June 2002, “Tableaux Tragi-Comiques”, pp.107-113
Germain Roesz, Ligeia: Dossiers sur l’Art: Abstractions, October 2001-June 2002, “Dissipations Abstraites, Entre le Jeu de l’Histoire et l’Histoire d’un Jeu”, Illus: “For Boys and Girls”, color, pp.128-137
Christine Ollier, Ligeia: Dossiers sur l’Art: Abstractions, October 2001-June 2002, “Peinture: Trois Regards, Une Stratégie”, pp.231-232
Jean-Pierre DeLarge, Dictionnaire des Arts Plastiques Modernes et Contemporaines, Gründ, hardbound, 709 pp.
Éric De Chassey, La Peinture Efficace, Gallimard, paperbound, 313 pp.
2002 Sven Lütticken, Allegories of Abstraction, dissertation publication, Vrije Universiteit, paperbound, 203pp., Illus: “The Ecstasy of Logic”, “Today’s Universe”, “Between Theory and Reality”, b/w
Suomen Kuvalehti, Kohtaamiset, January 18, “Patterns: Between Object and Arabesque; Paratiisin Puutarha”
Marja-Terttu Kivirinta, Helsingin Sanomat, January 19, “Patterns: Between Object and Arabesque; Arabeskeja Ruudukoiden Lomassa”, Illus: “Thoughtfully, They Weep”, color
Anonymous, Between Language and Form, pamphlet for group exhibition at Yale University Art Gallery, unpaginated, Illus: “Stable Aberrance”, color
Ken Johnson, The New York Times, February 22, “For Those in Search of Calm, an Armory Full of Modernists”, p. E38
Sid Sachs, Transcendent & Unrepentant, pamphlet for group exhibition at Rosenwald-Wolf Gallery, University of the Arts, Philadelphia, PA, unpaginated
David Ryan, Contemporary, February, “Thinking in the Abstract”, pp.18-23
Demetrio Paparoni, Jonathan Lasker, David Carrier, Joseph Masheck, Rainer Crone & David Moos, Konrad Bitterli, and Olivier Kaeppelin, Jonathan Lasker: Paintings 1977- 2001, published by Alberico Cetti Serbelloni Editore, hardbound, 221pp., Illus: 167 paintings, 6 drawings, 5 studies, color
David Ebony, Art in America, April, “Art Fairs Energize New York Art Scene”, Illus: “A Picture for Sentient Beings”, color, p.35- 36
Ferran Barenblit, et al, Catalogue Raisonné, Collection of Contemporary Art Fundación “la Caixa”, Vols. 1 & 2, published by Fundación “la Caixa”, softbound, 717pp., Illus: “Natural Order”, color
David Ryan, Joseph Masheck, et al., Talking Painting: Dialogues with Twelve Contemporary Abstract Painters, published by Routledge Press, hardbound, 250pp., Illus: “Romantic Gulf”, “The Value of Pictures”, “Nearly Soul”, color
Barry Schwabsky, Bookforum, Fall, “Lasker, by Demetrio Paparoni”, p.50
Barry Schwabsky, et al., Vitamin P: New Perspectives in Painting, published by Phaidon Press Limited, hardbound, 352pp., Illus: “The Oddness Factor”, color
Manuel E. González and J. A. Forde, Unframed: Artists Respond to AIDS, published by powerHouse Books, hardbound, 142pp., Illus: 3 untitled drawings, color
Bernard Blistène, Une Histoire de l’Art du XXe Siecle, published by Beaux Arts magazine & Centre Pompidou, paperbound, 241pp., Illus: “Believe in Everything”, color
Michael Semff, A Visual Handbook: Staatliche Graphische Sammlung, Munich, published by Staatliche Graphische Sammlung, Munich, paperbound, 848 pp.,
Illus: untitled oil study, color
2003 Raphael Rubinstein, Art in America, March, “A Quiet Crisis”, pp.39- 45
David Rimanelli, Artforum, March, “Time Capsules: 1980-1985”, p.112
Tim Griffin, Robert Storr, Carroll Dunham, Helmut Federle, Jutta Koether, Jonathan Lasker, Monique Prieto, Lane Relyea, Terry Winters, and Lisa Yuskavage, Artforum, April, “The Thick and Thin: A Roundtable on Painting”, Illus: “Main Event”, color, pp.174-179 &
238-244
Alice Thorson, The Kansas City Star, April 6, “Passion for Collecting, an Art in Itself”, Illus: “How to Be”, color, pp. J1,J4
Olivia Falcon, Vogue, May, “In Vogue”, Illus: “Productive Love”, color, pp.41-41
Katy Siegel, Artforum, May, “Preview: Jonathan Lasker at Reina Sofía”, Illus: “The Eternal Silence of Infinite Space”, color, p.69
Ute Riese, Gerhard Finckh, New Abstract Painting. Painting Abstract Now, catalogue essays for group exhibition at Museum Morsbroich, Leverkusen, Germany, Illus: “Why Things Are”, 5 untitled oil studies, color, p.74-77
Juan Manuel Bonet, Kevin Power, Richard Milazzo, Robert Hobbs, and Jonathan Lasker, Jonathan Lasker: Paintings, Drawings, Studies 1977-2003, catalogue for solo retrospective exhibition at the Palacio de Velazquez, Museo Nacional Centro de Arte Reina Sofia, Madrid, Spain, and K20 Kunstsammlung Nordrhein-Westfalen, Düsseldorf, Germany, paperbound,191pp., Illus: 39 paintings, 17 drawings, 19 studies, color
Rosa María Echeverría, ABC, June 6, “Lasker Expone la Lógica del Caos en el Palacio de Velázquez”, p.54
M.L. Colpisa, La Rioja, June 6, “La Abstracción ‘reflexiva y caótica’ de Jonathan Lasker, en el Reina Sofía”, p.8
Guillermo Solana, El Mundo, June 19, “Jonathan Lasker la Abstracción Académica en el Museo Reina Sofia”, Illus: oil study for “Cultural Promiscuity”, “When Trees Become Flowers”, b/w, pp.26-27
Francisco Carpio, La Razon, June 27, “Jonathan Lasker: Abstracción y Reflexión en el Museo Reina Sofia”, Illus: “Swank Sadness”, b/w
Mariano de Blas, Reseña, July 1, “Una Lección Magistral: Lasker en el Museo Reina Sofia”, Illus: “When Trees Become Flowers”, p. 47, b/w
Victor Zarza, ABC, July 5, “Desnudez Pictórica: Jonathan Lasker en el Museo Reina Sofia”, Illus: “Moody Room”, b/w
Javier Maderuelo, El Pais, July 5, “Oda a un Memo: Jonathan Lasker en el Museo Reina Sofia”, Illus: “The Consciousness of Animals”, b/w
Pablo Sobisch, Guía Del Ocio, August 29 – September 4, “Jonathan Lasker at Museo Reina Sofia”, Illus: “When Trees Become Flowers”, b/w, p.26
Armin Zweite, Juan Manuel Bonet, Pia Müller-Tamm, Kevin Power, Richard Milazzo, Robert Hobbs, and Jonathan Lasker, Jonathan Lasker: Paintings, Drawings, Studies 1977-2003, catalogue for solo retrospective exhibition at the Palacio de Velazquez, Museo Nacional Centro de Arte Reina Sofia, Madrid, Spain, and K20 Kunstsammlung Nordrhein- Westfalen, Düsseldorf, Germany, hardbound and paperbound, 160 pp., Illus: 41 paintings, 17 drawings, 19 Studies, color
Klaus Sebastian, Rheinische Post, September 22, “Formen im Beziehungskrieg: Jonathan Lasker in Düsseldorf”
Sophia Willems, Westdeutsche Zeitung, September 26, “Erträumte Wirklichkeiten: Jonathan Lasker im K20”, Illus: “Public Love”, b/w
Pitt Herrmann, Sonntagsnachrichten Herne, September 21, “Jonathan Lasker Im K20”, Illus: “The Eternal Silence of Infinite Space”, b/w
Michael Kohler, Frankfurter Rundschau, October 14, “Manierismus im Knäuel: Jonathan Lasker im K20”
Stefan Lüddemann, Neue Osnabrücker Zeitung, October 17, “Auf Kurven durch dichte Netzwerke. Düsseldorf zeigt Jonathan Lasker”, Illus: “Artistic Painting”, b/w
Matthias Weiß, Westfälische Rundschau, October 17, “Jonathan Lasker: Die Fährten der Bilder: Jonathan Lasker im K20”, Illus: “Public Love”, b/w
Petra Kuiper, Neue Ruhr Zeitung, October 21, “Laskers bunte Riesen: Jonathan Lasker im K20”, Illus: “Between Theory and Reality”, b/w
Georg Imdahl, Frankfurter Allgemeine Zeitung, October 22, “Fingerdick wie Buttercreme: Jonathan Lasker im K20”, Illus: untitled drawing, b/w
Matthias Weiß, Westfälischer Anzeiger, October 24, “Knäuel auf der Fläche: Jonathan Lasker im K20”, Illus: “Public Love”, b/w
Katja Behrens, Kölner Stadt-Anzeiger, November 4, “Gezähmte Malerei: Lasker in der Kunstsammlung NRW”
Ralf Kulschewskij, Aachener Nachrichten, November 5, “Schwanengesang auf die Abstraktion: Kunstsammlung NRW zeigt Jonathan Lasker”
Heinz-Norbert Jocks, Kunstforum, November/December, “Jonathan Lasker im K20”, Illus: “Lives of Perpetual Wonder”, “The Eternal Silence of Infinite Space”, “Today’s Universe”, Competitive Exclusion”, color, pp.290-292
Unauthored; Maurizio Cattelan, Massimiliano Gioni & Ali Subotnick, Editors, Charley, Vol. 03, Illus: “Real Imaginary”, “Suburban Theories”, color, unpaginated
Adrian Dannatt, The Art Newspaper, December, “Jonathan Lasker: Drawing and Painting at Sperone Westwater”, Illus: “Ornithology as Written for Birds”, b/w, p.3
Peter Schjeldahl, The New Yorker, December 1, “Early Thaw: Jonathan Lasker at Sperone Westwater”, Illus: Untitled Drawing, color, p.20
Brian Muller, Contemporary, No. 58, “212121 Painting: From Postconceptualism to Recontextualism”, pp.33-41
H. H. Arnason & Peter Kalb, History of Modern Art, Fifth Edition, Prentice Hall, Inc., hardbound, 832 pp., Illus: “To Believe in Food”, color
John Bentley Mays, C Magazine, Spring, “Beyond Overcoming: Notes on Abstract Painting”
Raphael Rubinstein, Polychrome Profusion Selected Art Criticism: 1990-2002, Hard Press Editions, softbound, 296pp., illus: “Expressions of an Uncertain Universe”, color
2004 Tony Godfrey, The Burlington Magazine, January, “Jonathan Lasker in Düsseldorf”, Illus: “Moody Room”, color, pp. 53-54
Alfred Mac Adam, ARTNews, February, “Jonathan Lasker at Sperone Westwater”, Illus: “Ornithology As Written for Birds”, color, p.110
Barry Schwabsky, Jonathan Lasker, Jonathan Lasker: Coloured Scribbles, catalogue essays for exhibition at Timothy Taylor, hardbound, 32 pp., Illus: “Moody Room”, “The Vagaries of Existence”, “Productive Love”, “The Ideal Form”, “Moderate Identification”, “Reasonable Assembly”, “Alone Amongst”, “Drawing Blanks”, “Prominent Reiteration”, color
Martin Coomer, Time Out (London), March 10-17, “Jonathan Lasker at TimothyTaylor”, Illus: “Drawing Blanks”, color, p.47
David Colman, Elle Decor, June/July, “Jonathan Lasker”, Illus: “A Double Life”, “Thought and Form”, “A Picture for Sentient Beings”, “Moral Space”, “Worlds of Mutual Exclusion”, color, pp. 66-68
Raphael Rubinstein, Sue Scott, Co-Conspirators: Artist and Collector, The Collection of James Cottrell and Joseph Lovett, catalogue essays for group exhibition at the Orlando Museum of Art, Orlando, Florida, paperbound, 64 pp., Illus: “Symbolic Farming”, color
Anne-Marie Daly-Peoples, New Zealand Art Monthly, September, “Paint”
Chris Shull, Wichita Eagle, August 8, “Exhibit Explores Americana: A Collective Image of America”
Eric Levin, New Jersey Life, December, “Connoisseur of Contradiction”, Illus: “Agrarian Structures”, color, pp.36-38
Sam Hunter, John Jacobus, and Daniel Wheeler, Modern Art, 3rd Revised and Expanded Edition, hardbound, 472pp., Pearson Prentice Hall, Illus: “The Eternal Silence of Infinite Space”, color
Dan Cameron, East Village USA, “It Takes a Village”, New Museum, paperbound, 160 pp.
2005 Florian Steininger, Willem De Kooning, “Willem De Kooning und Die Folgen”, catalog essay for group exhibition at BA-CA Kunstforum, Vienna, Austria, paperbound, 198 pp., Illus: “Beat the System”, “Agrarian Structures”, color
Richard Milazzo, Jonathan Lasker: From Drawing to Painting to Drawing, “The Curious Case of Line in Jonathan Lasker’s Drawings”, catalogue essay for solo exhibition at Kunsthallen Brandts Klædefabrik, Odense, Denmark, hardbound, 92 pp., Illus: “Lives of Perpetual Wonder”, “Formidable Embodiment”, “Quantifiable Love”, “Drawing and Painting”, “Drawing Blanks”, oil study for “Cultural Promiscuity”, 52 drawings, color
Luca Beatrice, Jonathan Lasker, “Segno Primario/Segno
Tecnologico”, catalogue essay for solo exhibition at Galleria Cardi & Co., Milan, Italy, hardbound, 56 pp., Illus: “A Memory of the Wilderness for Domestic Animals”, “Self Fulfillment”, “Incontrovertible Proof of Being”, “Where They Are”, “Unconscious Construction”, “Arranged Relationships”, “Nature Becoming Culture”, “What Babies Dream”, “Arboreal Construction”, “Bucolic System”, “You Only Live Twice”, “Free Being”, oil studies for “For Boys and Girls”, “A Memory of the Wilderness for Domestic Animals”, “Where They Are”, “Expressions Become Things”, “The Discontinuous Self”, and “Natural Construction”, 2 drawings, color
Simon Staun, Fyens Stiftstidende: NU, February 17, “Allegorier Over Tegnekunsten”, Illus: “Formidable Embodiment”, color, pp. 8,9
Werner Busch, Pia Müller-Tamm, et al, Geschichte und Ästhetik, “Die “notwendige” Ornamentalisierung, Das Beispiel des abstrakten Malers Jonathan Lasker”, Deutscher Kunstverlag, hardbound, 563 pp., Illus: “Public Love”, color, “Spring Fever”, “Wessen Wesen”, “Quantifiable Love”, oil study for “Public Love”, b/w
Chiara Gatti, La Repubblica, February 26, “Mondanità e collezionismo cool nella galleria di Porta Nuova, Da Morratti a Costacurta tutti tifano per Cardi”, Illus: “What Babies Dream”, “Arranged Relationships”, color, p. 19
Santa Nastro, Exibart.onpaper, March-April, “Milano: Jonathan Lasker”, Illus: “What Babies Dream”, “Self Fulfillment”, color, p. 38
Bénédicte Ramade, L’Oeil, May, “Aprés de Kooning”, Illus: “Agrarian Structures”, color, p. 93
Albert Albano, ICA News, Spring/Summer, “Artists’ Materials Use and the Creative Process”, Illus: “Fachwerkwald”, b/w, p.1
Dan Tranberg, ICA Art Documents: Now, May, “Jonathan Lasker: Between Thoughts and Realities”, Illus: “Formidable Embodiment”, color, p.1
W. J. T. Mitchell, What do Pictures Want?: The Lives and Loves of Images, “Abstraction and Intimacy”,The University of Chicago Press, hardbound, 380 pp., Illus: “Medium Exaltation”, color
Vicky Perry and Barry Schwabsky, Abstract Painting: Concepts and Techniques, Watson-Guptill Publications, paperbound, 160 pp., Illus: “For One Who Shaped Countenance”, “Arboreal Construction”, “Crisp Feelings”, “The Value of Pictures”, color
Ann Landi, ARTnews, December, “Artists and Their (Role) Models”, pp. 133-135
Sue Gosin, Nancy Princenthal, and Vincent Katz, Prints and Books: Artist Collaborations with Printmaker Ruth Lingen, catalogue essays for group exhibition at Donald H. Sheehan Gallery, Whitman College, Walla Walla, Washington, paperbound, 72 pp., Illus: Etching, linocut and handmade paper prints of “Town and Country” and “The Power of Weakness”, color, p. 30
Hugh Honour and John Fleming, A World History of Art, “Art After Post-Modernism”, Pearson Prentice Hall, hardbound, 936 pp.
Collins & Milazzo, Hyperframes, Un Discorso Sulla Post-Appropriazione in Arte, Campanotto Editore, paperbound, 175 pp., Illus: “Idiot Savant”, b/w, p.72
Nobuyuki Hiromoto, Azumi Akai, editors, Contemporary Voice: The Contemporary American Art from Misumi Collection, Tottori Prefectural Museum, hardbound, 128 pp., Illus: “Euphoric Routines”, color, p.67
Richard Milazzo, Expressions Become Things: From Sketch to Study to Painting, Edgewise Press Inc., hardbound, 87 pp., Illus: “Expressions Become Things”, oil study for “Expressions Become Things”, 11 ballpoint pen, brush pen and magic marker sketches for “Expressions Become Things”, color
Frances Colpitt, Artlies, Summer, “Dumb Painting : The End of Representation”, pp. 14-19.
Francesca Richer, Matthew Rosenzweig, Jonathan Lasker, et al, No. 1: First Works by 362 Artists, essays by artists about their first major artworks, D.A.P., hardbound, 424 pp., Illus: “Illinois”, color, p. 213;
Angela Hohmann and Imke Ehlers, Berlin Contemporary, Jovis, softbound, 191 pp., Illus: “Fachwerkwald”, color, p. 139
Jeffrey Kipnis, Hunch No. 9: The Berlage Institute Report, Summer, “Beyond the Concept Principle”, p. 29
2006 Brita Sachs, Frankfurter Allgemeine Zeitung, February 11, “Endlosschleifen: Jonathan Lasker bei Ropac in Salzburg”, Illus: “The World is My Garden”, color, p. 52
Johanna Hofleitner, Die Presse: Schaufenster, January 20, “Schauplätze: Jonathan Lasker bei Ropac”, Illus: “The World Is My Garden”, color, p.55
Susan Shatter, Annette Blaugrund and Nancy Malloy, The 181st Annual: An Invitational Exhibition of Contemporary Art, National Academy Musuem, paperbound, 159 pp., Illus: “Reasonable Assembly”, color, p. 75
Mark A. Cheetham, Abstract Art Against Autonomy: Infection, Resistance, and Cure Since the 60s, Cambridge Univesity Press, hardbound, 177 pp.
Rupert Mason, Wessex Scene, May 9, “Abstract Art From Three Generations at Hansard Gallery”, Illus: “Canaletto”, “Perspect Meadows”, b/w
Brandon Taylor, Viewpoint, issue 450, March, “Freedom and Constraint: Three Painters at the Hansard”, Illus: “Canaletto”, b/w, p. 1
Serge Hautmann, DNA, April 15, No. 89, “Les affinités de Dejean et Gangloff au CEAAC”
Gérald Wagner, Affinités, catalogue for group exhibition at Centre European d’Actions Artistiques Contemporaines (CEAAC), Illus: “Town and Country”, color, p. 18
Anthony Brown, Modern and Contemporary Master Drawings, catalogue for group exhibition at Connaught Brown Gallery, softbound, 44 pp., Illus: “untitled” drawing, b/w
Zdenek Felix, Broken Surface, catalogue for group exhibition at Sabine Knust Matthias Kunz Editions, paperbound, 36 pp., Illus: 2 lithographs: “Domestic Setting”, “Natural Placement”, color
David Reed and Jonathan Lasker, Jonathan Lasker, catalogue interview for solo exhibition at Galerie Alain Noirhomme, hardbound, 48 pp., Illus: “Arboreal Significance”, “Prominent Interior”, “The Thing Itself”, “Formal Garden”, “Structured Living”, “The Discovery of Natural Law”, “Ahistoric Remembrance”, “Autonomous Expression”, “Objective Love”, color
Claude Lorent, La Libre: Culture, October 18, “Fragmentation et Cohabitation, Jonathan Lasker at Galerie Alain Noirhomme”, Illus: “Formal Garden”, color, p. 24.
Barbara Nemitz, et al, Pink, Hatje Cantz Verlag, hardbound, 320 pp., Illus: “Fake Freak”, “Those of Questionable Existence”, color
Raphael Rubenstein, Arthur Danto, Lane Relyea, et al, Critical Mess: Art Critics on the State of Their Practice, “A Quiet Crisis”, Hard Press Editions, paperbound, 125 pp.
Robert L. Volz, Gunnar A. Kaldewey: Artist Books for a Global World, catalogue for a group exhibition at MASS MoCA, Hatje Cantz, hardbound, 96 pp., IIlus: Livre d’Artiste “Not a First” by John Asbery with cover by Jonathan Lasker, color, p. 37
Ken Johnson, The New York Times, May 31, “For a Broad Landscape, An Equally Wide Survey: the 181st National Academy Invitational”, p. E5
A.L. Gordon, The New York Sun, December 8, “Out & About With A.L. Gordon: Art Basel Miami Beach”, illus: “The World is My Garden”, color
Stefan Lüddemann, Bilderwelten einer Jahrhundertwende, V&R unipress, hardbound, 294pp.
2007 John Yau, Brooklyn Rail, April, “In Conversation: Jonathan Lasker with John Yau”, Illus: “Scenic Remembrance”, b/w, p. 24-27
Unauthored, The New Yorker, April 16, Illus: Portrait of the Artist with “Scenic Remembrance”, “Reasonable Honor”, “Standard Freedom”, color, p. 22
Mario Naves, The New York Observer, April 23, “Punchy Pop Parodies of Abstraction: Jonathan Lasker at Cheim and Read”, Illus: “Reasonable Love”, color
Roberta Smith, The New York Times, April 27, “Jonathan Lasker at Cheim and Read”, p. E28
Anonymous, The New Yorker, May 7, “Jonathan Lasker at Cheim and Read”, p.14
Jennifer Riley, The New York Sun, April 19, “Refilling the Picture Plane: Jonathan Lasker at Cheim and Read”, Illus: “The Quotidian and the Question”, “Resonable Love”, color, p. 22
David Moos, Jonathan Lasker, catalogue essay for solo exhibition at Cheim and Read Gallery, hardbound, 38 pp., Illus: “Cultural Promiscuity”, “Blobscape”, “Blob I”, “Blob II”, “Oasis”, “A Portrait of the Artist’s Mother”, “Love Becoming Power”, “Standards of Identification”, “Reasonable Love”, “Exclusive Expression”, “Admirable Stasis”, “The Quotidian and the Question”, “Scenic Remembrance”, “Reason and Free Will”, study for “A Portrait of the Artist’s Mother”, study for “Standards of Identification”, study for “Reasonable Love”, study for “Exclusive Expression”, study for “The Quotidian and the Question”, study for “Scenic Remembrance”, study for “Reason and Free Will”, color
Richard Kalina, Jonathan Lasker: Studies for Paintings 1986-2006, Drawings 1979-2007, Catalogue essay for exhibitions at Timothy Taylor Gallery and Galerie Sabine Knust, paperbound, 76 pp., Illus: 34 oil studies, 24 drawings, color
Anonymous, Grand Forks Herald, May 18, “Museum Exhibits Haring, Hockney, Warhol Artwork”, p. 2C
Alfred Mac Adam, ARTnews, June, “Jonathan Lasker at Cheim and Read”, Illus: “Exclusive Expression”, color, p. 134
Hanne Weskott, Süddeutsche Zeitung, Nr. 135, June 15, “Die Linie und der Latin Lover: Jonathan Lasker at Galerie Sabine Knust”, Illus: untitled drawing (D-153), color, p. 49
Will Simons, Omaha City Weekly, May 2-8, “Go West: Phillip Schrager Collection of Contemporary Art”, Illus: “What Babies Dream.”, color, pp. 36-37
Domenick Ammirati, Modern Painters, July-August,
“Jonathan Lasker at Cheim and Read”, Illus: “The Quotidian and the Question.”, color, p. 79
Tania Kovats, The Drawing Book, Black Dog Publishing, paperbound, 317 pp., Illus: untitled drawing (D-77), untitled drawing (D-103), untitled drawing (D-126), color, pp. 70-71
Roberta Smith, The New York Times, May 4, “Jonathan Lasker at Cheim and Read”, p. E22
Robert Hobbs, Carla Hanzal, and Shawn Reynolds, The Mint Museums: Contemporary Cool and Collected, catalogue for group exhibition, paperbound, 152 pp., Illus: “The Oddness Factor”, color, pp.76-77
Camille Morineau, et al, Collection Art Contemporain: La Collection du Centre Pompidou Musée National d’Art Moderne, Éditions du Centre Pompidou, hardbound, 497 pp., Illus: “Stable Aberrance”, color, p.268
Serge Lemoine, et al, l’Art Moderne et Contemporain, Larousse, paperbound, 312 pp.
Dan Cameron, Peter B. Lewis, Toby Devan Lewis, and Toni Morrison, Artworks: The Progressive Collection, D.A.P., hardbound, 292 pp., IIlus: “False Trancendence”, color, p.17,
p.55
Roald Nasgaard, Abstract Painting in Canada, Douglas & McIntyre paperbound, 432 pp.
2008 Daniel Kletke, Preview: Artnet Magazine, May 2, 2008, “Erstarrt zum Reinen Zeichen: Jonathan Lasker at Galerie Thomas Schulte,” p. 32
Dominikus Müller, Berliner Zeitung, May 13, “Leicht Verkatert und Kalkuliert Wild: Jonathan Lasker at Galerie Thomas Schulte”,
Illus: “Portrait of the Artist’s Father”, color, p.27
Jens Hinrichsen, Der Tagesspiegel, May 31, “Grummeln und Grinsen: Jonathan Lasker at Galerie Thomas Schulte”, Illus: “The Equality of Apples and Oranges”, color
Gemma Malvido, La Opinion Coruña, June 7, “La Fundación Barrié: Las Obras de los Pintores Lasker, Marcaccio, Rae y Forg”
Anonymous, La Voz de Galicia, June 15, “La Barrié Elige Vigo para Exhibir Su Colección de Pintura”, Illus: “The History of Wealth”, color
Robert Van Den Valentyn, Junge Kunst, #75, June – August, “Der Künstler Muss Ein Fels Sein: Ein Gespräch Über Beharrlichkeit, Kunst-Märkte und Inspiration”, Illus: “The Equality of Apples and Oranges”, study for “The Boundaries of Reason”,study for “The History of Wealth”, color, p. 44-49
Fritz Drury and Joanne Stryker, Drawing: Structure and Vision, Pearson Prentice Hall, paperbound, 461 pp., Illus: untitled drawing “D-116”, untitled drawing “D-103”, untitled drawing “D-123”, b/w, pp. 358-359
John Motley, Portland Mercury, October 23, “System And Styles: The Visual Vocabulary Of Jonathan Lasker”, Illus: “Reason And Free Will”, color, p. 39
D. K. Row, The Oregonian, October 27, “Careful Circuitry: Jonathan Lasker and Making Merry at the Portland Art Museum”, Illus: “Reason And Free Will”, color, p. C3,C7
Georg Imdahl, Kölner Stadt-Anzeiger, November 7, “Schwarze und Weiße Werden Offener Sprechen Können: Interview with Jonathan Lasker”, p. 27
Sebastion Piras, A Pocketful of Contemporary Artists, a book of portrait photographs of artists, Peleus Press an imprint of The Images Publishing Group Pty Ltd, hardbound, 256 pp.
Martin Z. Margulies, Peter Plagens, and Klaus Kertess, The Martin Z. Margulies Collection: Painting and Sculpture, The Martin Z. Margulies Foundation , hardbound, 344 pp., illus: “The Sublimation of Love”, color, p. 149
Ulrich Heimann, George Pusenkoff: Who is Afraid?, Moscow Museum of Modern Art, hardbound, 310pp., illus: “Between Theory and Reality”
2009 Juan Flores, Dagens Nyheter, January 17, “Lasker Lägger Lager på Lager: Jonathan Lasker at Galleri Lars Bohman”, Illus: Oil Study “S-105”, p. 3
Erica Treijs, Svenska Dagbladet, January 19, “Ljuset Viktigt i Laskers Värld: Jonathan Lasker at Galeri Lars Bohman”, p. 5
Anna Brodow Inzania, Svenska Dagbladet, “Krumeluren Som Star Emot Tidens Tand”, Illus: “An Economics of Desolation”, p. 6
Anonymous, Svenska Dagbladet, “Jonathan Lasker at Lars Bohman Gallery”
Unauthored, “Jonathan Lasker: 2009 Twelve Month Calendar“, Art Union Publications, spiralbound, 13 pp., Illus: “Selective Identity”, “Beat the System”, “The Metaphysics of Matter”, “The Conscious Subconscious”, “For Boys and Girls”, “Picket”, “Were Eight on its Side”, “They Do Not Exclude”, “Romantic Gulf”, “Popular Psyche”, “Public Love”, “An Argot for the Supreme Being”, “Idiot Savant”, color
Albino Mallo, Xornal de Galicia, February 13 , “La Barrié adquiere siete obras de pintura contemporánea en ARCO 09”
Michael Semff and Andreas Strobl, Die Gegenwart der Linie, die Pinakothek der Moderne, Staatliche Graphische Sammlung, Munich, Germany, hardbound, Illus: untitled drawing “D- 108”, color
Tony Godfrey, Painting Today, Phaidon Press, hardbound, 447 pp., Illus: “Blobscape”, “Domestic Setting with Post- partum Anxiety”, “”The Quotidian and the Question”, color
Almut Andreae, Postsdamer Neueste Nachrichten, October 12, “Kodierte Kunst: The Kienzle Art Foundation at Brandenburgischen Kunstverein”
Arno Neumann, Märkische Allgemeine, December 23, “Von Sein und Schein: Bildende Kunst, Die Galerie des Brandenburgischen Kunstvereins zeigt falsche Freunde”
Daniel Kletke, Kienzle Art Foundation Collection Catalog: Text and Work, The Kienzle Art Foundation, Potsdam, Germany, two- part hardbound catalog: “Texte”, 128pp., “Werke”,120pp., illus: “The Excessive Norm”, Why Things Are”, “How to Be Unique”, Study for “Things Are As They Seem”, color
Christian Rattemeyer, The Judith Rothschild Foundation Contemporary Drawings Collection Catalogue Raisonné, The Museum of Modern Art, New York, hardbound, 296 pp., illus: untitled drawing “D-95”, b/w
2010 Christiane Meixner, Der Tagesspiegel, January 16, “Von Küssen und Schlägen: The Kienzle Art Foundation at
Brandenburgischen Kunstverein”
Meredith Mendelsohn, Art + Auction, February, “Not so Loopy: Jonathan Lasker’s Show at L.A. Louver” , illus: “Scene and Signs”, “The Divergence of Art and Culture”, color, p. 30
Andy Brumer, Art Scene, March, “Jonathan Lasker at L.A. Louver Gallery”, illus: “A Portrait of the Artist’s Father”, b/w, p. 14-15JO
Martin Herbert, Art Review, March, “Now See This: Jonathan Lasker at L.A. Louver” illus: “Hidden Identity”, color, p. 36-38
David Pagel, Los Angeles Times, March 26, “Quick Efficient Enigmas: Jonathan Lasker at L.A. Louver”, illus: The Plan for Morality”, color
Hans-Jürgen Hafner and Daniel Kletke, Loose Joints: Show 1, The Kienzle Art Foundation, softbound, 17 pp., illus: “How to Be Unique”, color
Joe Fyfe, Le Tableau, Cheim and Read, paper pamphlet unpaginated, illus: “Lessons in Reality”, color
Amy Bernstein, Jonathan Lasker: Recent Paintings, “An Explanation of Intent”, catalog interview with the artist for solo exhibition at L.A. Louver Gallery, hardbound, 84pp. illus: “The Inability to Sublimate”, “An image of the Self”, “For An Absconded God”, “The Divergence of Art and Culture”, “Love Light and Dark”, “Pictorial Regularity”, “Scenic Configuration”, “Scene and Signs”, “Legible Composition”, “Making Space”, “Hidden Identity”, “A Portrait of the Artist’s Father”, “The Plan for Morality”, “The History of Common Occurances”, color
John Daly, Studies in Paint: Jonathan Lasker and John Noel Smith, “Intuition and Control: the Paintings of Jonathan Lasker and John Noel Smith” catalogue essay for exhibition, Hillsboro Fine Art, Dublin, harbound, 48pp. illus: “Untitled” (S-12.25), Study for “Primordial Teenage” (S-12.26), “Untitled” (S-18.2), Study for “After Right and Wrong” (S- 18.3), “Untitled” (S-18.11), “Untitled” (S-21.1), color
Alfred Mac Adam, ARTNews, October, “Le Tableau”, p. 106
Julian Kreimer, Art in America, November, “Le Tableau”, illus: “Lessons in Reality”, color, p.179
Marjorie Devon, Faye Hirsch, et al., Tamarind Touchstones: Fabulous at Fifty, University of New Mexico Press, hardbound, 190pp., illus: “Ball Figures III”, color
Jonathan Parsons, Turps Banana, Issue 9, “Uncharted Planet: Painting’s Cartographic Tendencies”
GianCarlo Pagliasso, La Retorica Dell’arte Contemporanea: Collins & Milazzo e la svolta post-neo-concettuale dell’arte negli anni ’80, Campanotto Editore, paperbound, 127pp., illus: “The Metaphysics of Matter”, color
David Moos, The Minimal Gesture, “Painting: Existential Again?”, catalogue for group exhibition, Timothy Taylor Gallery, London, England, hardbound, 48pp., illus: “Heavy Mental”, “When Dreams Work”, color
Terry R. Meyers, editor, Shirley Kaneda, Adrian Searle, Painting: Documents of Contemporary Art, “Painting and It’s Others: In the Realm of the Feminine”, “Unbound”, essays in an anthology, Whitechapel Gallery and The MIT Press, paperbound, 240pp.
Ken Johnson, Are You Experienced?: How Psychedelic Consciousness Transformed Modern Art, Prestel Publishing, hardbound, 232pp., illus: “The Equality of Apples and Oranges”, color
Jan Hoet, Joost Declercq, Peter Doroshenko, Collection Vanmoerkerke, Rispoli Books, hardbound, “The Boundaries of Reason”, color
Andrea Magenheimer, Flash Art, October, “The Minimal Gesture”
Roberta Smith, The New York Times, October 13, “Art in Review: Night Scented Stock”, p.C26
Marion Daniel, Cursif, Issue 1, “Jonathan Lasker Peindre Le Dessin, Dessiner La Peinture”, illus: “Nearly Soul”, “Legible Composition”, “An Image of the Self”, “Drawing and Painting”, “The Consequences of Idealism in an Imperfect World”, “The Divergence of Art and Culture”, color
Jonathan Lasker, Jonathan Lasker, “One’s Self By Chance”, catalogue essay for solo exhibition at Timothy Taylor Gallery, London, Timothy Taylor Gallery and Thomas Schulte Gallery publication, hardbound, 38pp., Illus: “Idiot Savant”, “Heavy Mental”, “Blobscape”, “Popular Psyche”, “Cosmic Shorthand”, “The Big Picture”, “Elaborate Stasis”, “When Dreams Work”, color
Unauthored, Between the Lines, Volume 3: A Coloring Book of Drawings by Contemporary Artists, RxArt, New York, paperbound, 118pp., Illus: “Untitled” (D-173), b/w
Marianne Heinz, Sylvia Lysko, et al, Neue Galerie Meisterwerke, catalogue for collection of Museumslandschaft, Hessen, Kassel, Germany, Michael Imhof Verlag, hardbound, 207pp. Illus: “Love as Object”, color
Joan Marter, et al, Grove Encyclopedia of American Art, Volume 1, Oxford University Press Inc., New York, hardbound
Clemens von Lucius, 75 Artist Books: The Kaldeway Press, New York, A Catalogue Raisonné, Verlag Hermann Schmidt, Mainz, Germany, hardbound, 352pp., Illus: Three Untilted drawings for “Not a First”, a book by John Ashbery
2012 Marion Daniel, Jonathan Lasker, interview with Jonathan Lasker in catalogue for solo exhibition at Thaddaeus Ropac Gallery, hardbound, 48pp. illus: “Life Without Thought”, “The Consequences of Idealism in an Imperfect World”, ” The Boundary of Luck and Providence”, “Objective Reasoning”, “The Commerce of Dreams, “Illusions of the Self”, “Common
Sense”, Moral Jiu-Jitsu”, “The Point Being”, “Scenic Reality”, “Illinois”, color
Laura Mclean-Ferris, Art Review, January & February, Issue 56, “Jonathan Lasker: The 80s”, p. 103
Frédéric Lordon, et al., Le Monde Diplomatique, December, illus: “Stable Abberance”, “Visible Thoughts”, “Lessons in Reality”, “The Plan for Morality”, color
Sophie de Santis, Figaro Scope, January 25, “Jonathan Lasker: Galerie Thaddaeus Ropac”
Robert Hobbs, Jonathan Lasker: Early Works 1977-1985, catalogue essay for solo exhibition at Cheim and Read Gallery, paperbound, 70pp., Illus: “Illinois”, “Single Room Occupancy”, “Moody Room”, “Mohawkian”, “Crystal Falls”, “Land O’Goshen”, “Greek”, “Sceptre”, “An Intrusion of Dawn”, “On the Beach”, “Zen for Ben”, “Range”, “Valencian Twilight”, “Romantic Gulf”, “Pre-Fab View”, “Parasite”, “Sudden Humor”, “Suburban Drifts”, “Nature Study”, “Deep Purple”, “3 Card Monte”, “Borrowed Beauty”, color
Howard Halle, Time Out (New York), “Jonathan Lasker: Early Works
1977-1985”, Issue 849, February 23-March 7, p. 52
Anonymous, Monopol, “Jonathan Lasker: The 80s”, April, p.118, illus: “The Big Picture”, color
Robert Pincus-Whitten, ArtForum, “Jonathan Lasker: Cheim and Read”, May, illus: “Pre-Fab View”, color, p.304-305
Maksimiljana Ipavec, Primorske Novice, “Abstrakcija z druge strani Atlantika”, May 8
Louise Heugel, Grand Cahier de Creation: Les Couleurs, Editions Palette, Paris, France, paperbound, 24pp., illus: “Interpretive Painting”
Camille Morineau, et al, Gerhard Richter: Panorama, “Au-delá de l’ opposition entre abstraction et figuration: blow up et figuration du vocabulaire abstrait”, Éditions du Centre Pompidou, Paris, hardbound, 304pp., illus: “Stable Aberrance”
Mark Prince, Frieze d/e, “Jonathan Lasker: Berlin”, summer, Issue No. 5, illus: “Heavy Mental”, color, p. 135
Anne Bellon, Figure Magazine, “Meeting with Jonathan Lasker”, Issue No. 1, June, illus: “For an Absconded God”, “The Divergence of Art and Culture”, “Objective Reasoning”, “Illusions of the Self”, “The Plan for Morality”, “To Believe in Food”, “How to Be”, “Winter Abstraction”, “The Consequences of Idealism in an Imperfect World”, “Elaborate Stasis”, “When Dreams Work”, “Untitled (S-55.5)”, “Study for ‘Reverse Society’ (S-30.22)”, color, pp.46-60
Michel Bulteau, Figure Magazine, Interview with Jonathan Lasker (republished), Issue No.1, June
Stefanie Ippendorf, Gunda Luyken, and Beat Wismer, Aus Passion, Die Sammlung Hanck im Museum Kunstpalast, Düsseldorf, Germany, paperbound, 360pp., Illus: 2 untitled oil studies 1992
Pepe Karmel, Joachim Pissarro, Conceptual Abstraction,
catalogue for exhibition at Hunter College, New York, paperbound, 92pp., illus: “Born Yesterday”, “The Inability to Sublimate”, color
Friedo Stucke, Kunst: Art, “Querschnitt durch die heutige Malerei: Heute. Malerei im Kunstmuseum Magdeburg”, Issue 28, Nov-Dec
Richard Kalina, The Brooklyn Rail, “The Four Corners of Painting”, December
Annegret Laabs, Uwe Gellner, Heute. Malerei, catalogue for exhibition, Kunstmuseum Kloster Unser Lieben Frauen, Magdeburg, Germany, hardbound, 176pp. illus: “Cosmic Shorthand”, “Worlds of Mutual Exclusion”, “When Dreams Work”, “Common Sense”, “Scenic Reality”, color
2013 Mario Naves, Joanne Freeman, Stephen Westfall, Wit, catalogue for exhibition at The Painting Center, New York, paperbound, 20pp., illus: “Unequal Partners”, color
Lilly Wei, Art in America, “Conceptual Abstraction”, February, illus: “The Inability to Sublimate”, color, p. 106-107
Pepe Karmel, Art News, “The Golden Age of Absraction: Right Now”, April, illus: “The Quotidian and the Question”, p. 69
Melanie Fales, Sandy Harthorn, Christopher Schnoor,
collection catalogue, In the Abstract: Wilfred Davis Fletcher Collection, Boise Art Museum, Boise, Idaho, hardbound, 119pp., illus: “Pictorial Regularity”, color
Ellen Drost, Lene Burkard, Trine Søndergaard, Kunsthallen Brandts 25 Years, a book of exhibition highlights, Kunsthallen Brandts, Odense, Denmark, hardbound, 217pp., illus: “D-58.11”, color
Raphael Rubinstein, Reinventing Abstraction: New York Painting in the 1980s, “The Lure of the Impure”, Cheim and Read, New York, paperbound, 80pp. illus: “Double Play”, color
Craig Staff, After Modernist Painting, I.B. Tauris & Co
Ltd, paperbound, 209pp. illus: “Elaborate Stasis”, color
Ken Johnson, The New York Times, Friday July 12, “Reinventing Abstraction: New York Painting in the 1980s”, p.C23
Jochen Kienbaum, Rolf Ricke, Jens Peter Koerver, Smile:
Amerikanische-Kunst—Sammlung Kienbaum, catalogue for exhibition, paperbound, 48pp. Illus: “When Dreams Work”, color
2014 Fabienne Eggelhöfer, Régine Bonnefoit, Martina Dobbe, Peter Fischer , Taking a Line for a Walk, Snoeck Publications, hardbound, 192pp., Illus: “Formalities of Self”, “Perfect Penmanship”, “Painting for an Invisible Generation”, “Cosmic Shorthand”, “Abstract America”, “When Dreams Work”, “How to be Unique”, color
 
Selected Internet Bibliography
1996 Richard Milazzo with Joey T. Lamb and R.T. Vullo, Artnet.com, March 16, “According to What: A Column About Art and the Kitchen Sink”, Illus: “The Eternal Silence of Infinite Space”, “Moral Fantasia”, “When Trees Become Flowers”, “Nearly Soul”, color, http://www.artnet.com/magazine_pre2000/features/milazzo/ milazzo3-18-96.asp
1999 David Ebony, Artnet.com, October 27, “David Ebony’s Top Ten: Jonathan Lasker at Sperone Westwater”, Illus: “Domestic Setting with Post-Partum Anxiety”, “An Explanation of Ice for a Summer Insect”, color, http://www.artnet.com/magazine_pre2000/reviews/ebony/ ebony(3)10-27-99.asp
Dennis Kardon, Artnet.com, November 2, “A Painter’s Progress: Jonathan Lasker at Sperone Westwater”, Illus: “Domestic Setting with Post-Partum Anxiety”, “Upon the Modern Prairie”, “Flowers Will Grow in Cracks of the Metropolis”, “Brainiac in a Self-Regulating “, “For One Who Shaped Countenance”, color, http://www.artnet.com/magazine_pre2000/features/kardon/ kardon10-26-99.asp
Robert G. Edelman, Artnet.com, November 11, “Abstract New York: Jonathan Lasker at Sperone Westwater”, Illus: “Brainiac in a Self-Regulating Environment”, color, http://www.artnet.com/magazine/ reviews/edelman/edelman11-11-99.asp
2000 Robert Garlitz, Tangents, “Precise Sadness: Jonathan Lasker at the Rose Art Museum”, Illus: “Hermeneutic Picture” http://www.tangents.co.uk/tangents/main/pre- 2001/lasker.html
2003 Victoria Erausquin, Expansión Directo, July 19, “Jonathan Lasker en Museo Reina Sofia: La Abstracción Puesta al Día”, http://www.expansion.com/edicion/noticia/ 0,2458,372749__00,00.html
Pitt Herrmann, Herner Feuilleton, October 4, “Jonathan Lasker – Kevin Power, Pia Müller-Tamm (Kuratoren), Museo Nacional Centro de Arte Reina Sofia Madrid/Kunstsammlung Nordrhein-Westfalen K20 Düsseldorf”, Illus: “Competitive Exclusion”, “Today’s Universe”, color, http://www.herner- netz.de/Kunstsammlung-Lasker/kunstsammlung- lasker.html
Jan Lüdecke, Kunstgeschichte, October 16, “Jonathan Lasker im K20: Lebendig verwaltete Abstraktion”, http://www.portalkunstgeschichte.de/events/
ausstellungsrezensionen/24.php
2004 unauthored, Flavorpill London, February 24, “Jonathan Lasker: Coloured Scribbles”, http://london.flavorpill.net/current.shtml
Barry Schwabsky, Sherman Sam, KultureFlash, March 22, “Jonathan Lasker @ Timothy Taylor Gallery, London, UK”, Illus: “Drawing Blanks”, color, http://www.kultureflash.net/archive/82/priview.html
2005 Santa Nastro, Exibart.com, March-April, “Jonathan Lasker: Milano, Galleria Cardi & Co.”, Illus: “What Babies Dream”, “Arranged Relationships”, “A Memory of the Wilderness for Domestic Animals”, color,
http://www.exibart.com/Print/notizia.asp/IDNotizia/12185/IDCategoria/57
2006 Frances Colpit, Artlies, Summer, “Dumb Painting”, http://www.artlies.org/article.php?id=1240&issue=47&s=02006
Richard Polsky, Artnet.com, September, 25 2006, “Take Some Off the Table”,http://www.artnet.com/magazineus/features/ polsky/polsky9-%0925-06
Mark Staff Brandl, sharkforum.org, May 22, 2006, “Mannerisim is Now”, http://www.sharkforum.org/archives/2006/05/mannerism_is _now.html
Alessandra Ilari and Marc Karimzadeh, wwd.com, December 5, 2006, “Versace Revs Up Design for Pre-Fall”,http://www.wwd.com/fashion-news/versace-revs-up-designs- for-pre-fall-514769
Rosie Lesso, willduke.net, 2006, “Between Pleasure and Paranoia”, http://www.willduke.net/RosieLesso.htm
Addison Parks, Artdeal Magazine, March 14, “NEOAB: Settled Abstraction”, http://artdealmagazine.blogspot.com/2006/03/ neoab-settled-abstraction.html
2007 “C.A.P.”, currentartpics.com, April 25th, 2007, “Jonathan Lasker”, http://www.currentartpics.com/jonathan-lasker/
Vittorio Colaizzi, thepaintingcenter.org, April 2007, “Two Kinds of Thickness in Abstract Painting”, http://thepaintingcenter.org/blog/
John Haber, Haber Arts, May 2007, “Traffic in Abstraction”, http://www.haberarts.com/taaffe.htm
Leonilde Marques, bigcityredneck.co.uk, June 2007, “Jonathan Lasker: Studies for Paintings 1986-2006”, http://www.bigcityredneck.co.uk/articles/Jonathan_Lasker/46/2/1
Anonymous, Rough Trade Art, April 22, “Same As It Ever Was”http://roughtradeart.blogspot.com/2007/04/same-as-it-ever-was.html
Sabine7, ART MOCO, May 21, “Structured Living”, illus:”Structured Living”, http://mocoloco.com/art/archives/004110.php
Amy Bernstein, PORT, April 13, “Pooled Pathos: J. Bennett Fitts at Quality Pictures”, http://www.portlandart.net/archives/2007/04/pooled_pathos_j.html
2008 Anonymous, creativeface.net, May 2008, “Jonathan Lasker at Galerie Thomas Schulte”, Illus: “A Portrait of the Artist’s Father”, “The Equality of Apples and Oranges”, color,http://www.creativeface.net/whats-on/events/view
Luke Fidler, Power Slice, October 13, “Jonathan Lasker at PAM”, http://powerslice.blogspot.com/2008/10/jonathan-lasker-at-pam.html
Sharon Butler, Two Coats of Paint, October 30, “Jonathan Lasker’s Impishness Rascality”,
http://twocoatsofpaint.blogspot.com/2008/10/jonathan-lasker-impishness-rascality.html
Amy Bernstein, PORT, December 14 2008, “Jonathan Lasker at PAM”, Illus: “Reason and Free Will,” “Scenic Rememrance”, Installation Shot, color, http://portlandart.net/archives/2008/12/jonathan_lasker.html
Miguel Cereceda, Ana Serratosa Arte, “Review of Tradition”, http://anaserratosa.com/events/revision-de-la-tradicion
2009 Anonymous, kulterstan.se, “Jonathan Lasker på Lars Bohman Gallery”, “, http://www.kulturstan.se/museum/moderna- museet/artikel/jonathan-lasker-pa-lars-bohman-gallery/
Albino Mallo, Xornal.com, “La Barriè adquiere siete obras de pintura contemporànea en ARCO ’09”,
Douglas Melini, Minus Space, “Viewlist: I Can Read in Red, I Can Read in Blue, I can Read in Pickle Color Too”, illus: “The Ecstasy of Logic”, color, http://www.minusspace.com/category/viewlist/
2010 Peter Frank, The Huffington Post, “Blague d’art: Ides o’ March”, illus: “The Plan for Morality”, color, http://www.huffingtonpost.com/peter-frank/blague-dart-ides-omarch_b_503689.html
Anonymous, BRENDARTS, “Jonathan Lasker at L.A. Louver” illus: “An Image of the Self”, “Pictorial Regularity”, “Love Light and Dark”, color,http://brendarts.blogspot.com/2010/03/jonathan-lasker-at-la-louver.html
Anonymous, Frenchy But Chic!, March 12,http://frenchybutchic.blogspot.com/
Doug Simay, Art As Authority, “Current Los Angeles Contemporary Exhibitions: Doug Simay’s Best Picks, illus: “The Inability to Sublimate”, color, http://www.artasauthority.com/2010/03/doug_simays_best_picks_2.html
Patrick Murtha, Patrick Murtha’s Diary, April 5, “Jonathan Lasker at L.A. Louver”, http://patrickmurthasdiary.blogspot.com/2010/04/april-5.html
Vasili Kaliman, Vasili Kaliman’s Art Partol, “Group Show: Le Tableau”, illus: “Lessons in Reality”, colorhttp://artpatrol.blogspot.com/2010/07/group-show-le-tableau- 24-june-3.html
Joe Fyfe, Art Knowledge News, “Cheim & Read Showing Group Exhibition Titled ‘Le Tableau'”, illus: “Lessons in Reality”, color, http://www.artknowledgenews.com/2010-07-11-22-14-28-cheim-and-read-showing-group-exhibition-titled-le-tableau.html
Stephen Maine, Art Critical, “The Big (Juicy) Apple: Three Current Shows of Abstract Painterliness”, http://artcritical.com/2010/11/02/roberts-hartling-whitney
Madi Tertulia, La Tertulia de Madí, December 6, “In the Gallery ‘La Esqina’, Madrid” http://latertuliademadi.blogspot.com/search?updated- min=2010-01-01T00%3A00%3A00-08%3A00&updated-max=2011-01-01T00%3A00%3A00-08%3A00&max-results=50
Lisa Jennings, BEELINE, October 6, http://beelinetree.blogspot.com/2010/10/contemporary-painter-jonathan-lasker.html
2011 Alexander Liang, Kenton, “OR by Angela Chen Explores The Art of Knitwear”, http://kentonmagazine.com/or-by-angela-chen-explores-the-art-of-knitwear/
Mishal Cazmi, Hardly Magazine, “Portrait in Style: Angela Chen”, http://hardlymagazine.com/journal/2011/04/portrait-in-style-angela-chen/
Beth Anderson, Chic Galleria, “The Art of Knitwear: OR by Angela Chen”, http://chicgalleria.com/2011/03/the-art-of-knitwear-or-by-angela-chen/
Lauren Reyes-Grange, Woman’s Post, “LGFW: OR by Angela Chen”, http://www.womenspost.ca/articles/fashion/lgfw-or-angela-chen-fallwinter-2011
Steven Schelling, Westender, “The Look: Abstract Expressionism Goes Ready to Wear”, http://www.westender.com/articles/entry/the-look-abstract- expressionism-goes-ready-to-wear
Gabrielle Johnson, Sweetlife, OR by Angela Chen, http://www.sweetspot.ca/SweetLife/sweetlife_at/34334/or_by _angela_chen/
Lee Triming, Abstract Critical, December 12, “Pretty Ugly: On Not Hating Jonathan Lasker”, http://abstractcritical.com/2011/12/pretty-ugly-on-not-hating- jonathan-lasker/
Jonathan Lasker, ArtForum, December 14, “500 Words: Jonathan Lasker as told to Sherman Sam”, http://www.artforum.com/words/#entry29708
Daniel Sturgis, Stuart Cumberland and Emma Dexter in converstion, Abstract Critcal, November 11, “Jonathan Lasker: The 80’s”, video of roundtable discussion about the artist and his show at Timothy Taylor Gallery,
http://abstractcritical.com/2011/11/jonathan-lasker-the-80s
André Balbo, Evous, December 16, “Jonathan Lasker, peintures récentes à la galerie Thaddaeus Ropac”, http://www.evous.fr/Jonathan-Lasker-peintures-recentes-a- la-galerie-Thaddaeus-Ropac,1173295.html
Samson Soboye, WHAT?!, November 23, “Exhibits: Jonathan Lasker at Timothy Taylor Gallery, http://www.what-mag.co.uk/when/explore/what-exhibits- jonathan-lasker-at-timothy-taylor-gallery
2012 Robert J. Hughes, ARTslant, January 21, “Jonathan Lasker Recent Paintings”, http://www.artslant.com/par/articles/show/29474
David@abstraktion.org, Abstraktion, January 24, “Jonathan Lasker at Galerie Thaddaues Ropac, Paris France…”, http://www.abstraktion.org/2012/01/jonathan-lasker-galerie- thaddaeus-ropac.html
Kara Town, This Town, January 27, “Jonathan Lasker at Galerie Thaddaues Ropac, Paris France…”, http://karatown.blogspot.com/2012/01/jonathan-lasker-at- thaddaeus-ropac.html
Anonymous, Art Media Agency, January 6, “Jonathan Lasker’s Recent Paintings in Paris”,http://www.artmediaagency.com/en/35019/jonathan-laskers- recent-paintings-in-paris/
Benoît Blanchard, oeuvres, January 17, “Jonathan Lasker: Recent Painting, http://oeuvres-revue.net/2012/01/17/jonathan- lasker-recent-painting-galerie-thaddaeus-ropac/
Anonoymous, Donut Chocula, January 10, “Jonathan Lasker at Galerie Thaddaues Ropac”, http://donutchocula.blogspot.com/2012/01/jonathan-lasker- at-galerie-thaddaeus.html
Alexandra Gordienko, purple DIARY, Janaury 19, “Jonathan Lasker’s Recent Paintings at the Thaddaeus Ropac Gallery, Paris”, http://purple.fr/diary/search/lasker
Amanda Valdez, BOMBBLOG, April 10, “Early, Rising: Jonathan Lasker”, http://bombsite.com/issues/1000/articles/6540
Brett Baker, Painter’s Table, October 12, “Jonathan Lasker: Clarified and Incoherent”,http://painters-table.com/link/too-much-art/jonathan-lasker-clarified-and-incoherent
Mario Naves, Too Much Art, October 12, “Clarified and Incoherent: The Art of Jonathan Lasker”, http://mnaves.wordpress.com/2012/10/12/clarified-and-incoherent-the-art-of-jonathan-lasker/
Tyler Green, ARTINFO, “Modern Art Notes Podcast: Jonathan Lasker”, http://blogs.artinfo.com/modernartnotes/2012/11/the-modern- art-notes-podcast-jonathan-lasker/
Raphael Rubinstein, Art in America, “Top 10 in Painting, 2012”, http://www.artinamericamagazine.com/news-opinion/finer-things/2012-12-24/top-10-painting-2012/
Jeff Kipnis et al., Fresh Meat Journal, “Re-Laskerite Review”, January 2, http://www.freshmeatjournal.org/2010/11/re-laskerite-review/
2013 Simon Zabell, A Studio with a View, “Jonathan Lasker: Love him or Hate Him”,
http://simonzabell.com/blog/jonathan-lasker-love-
him-or-hate-him/
Nora Griffin, Art Critical, “Sentimental Education: Abstract Painting in the 1980s”, August 31,http://www.artcritical.com/2013/08/31/reinventing-abstraction/
Maxime Thieffine, Memoire Vive, “Les Titres de Jonathan Lasker”, June 10,http://maximememoirevive.blogspot.com/2013/06/les-titres-de-jonathan-lasker.html
2014 William Corwin, Art Critical, “It’s Elementary: Painitng 101 at Sargent’s Daighters”, February 2, http://www.artcritical.com/2014/02/02/painting-101/
Jason Stopa, HYPERALLERGIC, “The Line is a Circle: Painting at the Threshold”, March 8,http://hyperallergic.com/112660/the-line-is-a-circle-painting-at-the-threshold/
Stian Gabrielsen, KUNSTKRITIKK, “Opphavets Kollaps”, April 4, http://www.kunstkritikk.no/kritikk/opphavets-kollaps/
Brian Bishop, “Painting in The Age of The Screen“, Essay presented in Chicago for the session “Painting in the Digital Age: Twenty-first Century Recontextualization” at the102nd Annual Conference of College Art Association, February, http://brianbishop.com/artwork/3428367_Painting_in_the_Age_of_The_Screen.html
Peder Lund, CONTEMPORARY ART DAILY, press release for solo exhibition: “Recent Paintings”, May 27th,http://www.contemporaryartdaily.com/2014/05/jonathan–at-peder-lund/
Martin Mugar, Berkshire Fine Arts, “Zombie Art Postscript”, January 10th,http://berkshirefinearts.com/01-10-2014_zombie-art-postscript.htm
Jim Palette, NMNM, text written for the exhibition “Promenades d’amateurs”,http://nmnm.mc/index.php?option=com_k2&view=item&id=191:promenades-d-amateurs&Itemid=303&lang=en
 
Publications by Artist
1981 Cave Pictures. A book of drawings by Jonathan Lasker and poetry by Everett Potter, Published by the Kaldewey Press, Düsseldorf, Germany
1986 Untitled Essay. Effects Magazine, Winter issue
After Abstraction. Published in What It Is, catalogue for exhibition at Tony Shafrazi Gallery
1987 Abstraction After Itself. Essay published in Corcoran Gallery of Art Biennial catalogue
Falling In Lava. Essay published in Eugene Leroy, catalogue for exhibition at Musee d’Art Moderne Villeneuve d’Asco
1988 Racing Form. Essay published in Journal of Contemporary Art, Volume 1/Number 2
1989 Not A First. A book of drawings by Jonathan Lasker and poetry by John Ashbery, Published by the Kaldewey Press, Poestenkill, NY
1991 Pariahs. Essay published in An Anthology of Statements: White Columns, Collins & Milazzo, Editors
1994 Willem De Kooning: Paintings for the Living. Published in Jong Holland, Issue #1/94
Beauty in the Age of Roadkill. Published in 99, Turn of the Century Magazine, Fall issue
1995 Plastic Made Perfect: Measuring Mondrian: New Math. Published in ArtForum, October, p.93
1996 Sleep and Poetry: The Consciousness of Animals. Essay published in Art & Design No. 48: Painting in the Age of Artificial Intelligence
1998 Jonathan Lasker: Complete Essays 1984-1998. Published by Edgewise Press, paperbound, 62pp.
1999 Dense Fictions, Image Kit, After Abstraction, Abstraction, Past Itself, Observations from a Fire Escape on St. Mark’sPlace, Pariahs, Cherchez la Femme Peintre!, Willem de Kooning: Paintings for the Living, Piet Mondrian: Soft Squares, Sleep and Poetry: The Consciousness of Animals. Slovenian translations of previously published essays, published in Likovne, No. 47-48, May, pp.57-68
Untitled Essay on Claude Monet. Télérama: Hors/Serie, May 14-21
Untitled Foreword. Published in Lena Cronqvist, catalogue for exhibition at Tricia Collins Contemporary Art, New York
2000 Queen Street Quarterly. Paintings by Jonathan Lasker and poetry by Jeremy Sigler. Illus: “Upon the Modern Prairie” (cover), “For One Who Shaped Countenence”, “An Explanation of Ice for a Summer Insect” (back cover), color, pp.44-47. Spring issue
2001 Untitled Essay on the ’80’s. Nu: The Nordic Art Review, Volume III, #3-4, Summer, p.130
To Be a Mirror: Portraits By Six Painters. Catalogue essay for group exhibition curated by Jonathan Lasker at Eugene Binder, Long Island City, NY
Rupprecht Geiger and Eugené Leroy: Sunbursts and the Earth’s Shelter. Catalogue essay for group exhibition curated by Jonathan Lasker at Roger Smith, New York
2004 Image Kit. Translated into Danish in Blikfang/Eye Catcher magazine of Kunsthallen Brandts Klædefabrik, Odense, Denmark
2005 Beauty in the Age of Road Kill, Willem De Kooning: Paintings for the Living. Translated into German for group exhibition catalogue Willem De Kooning und Die Folgen at BA-CA Kunstforum, Vienna, Austria
Expressions Permanentes. Complete essays translated into French, Published by Daniel Lelong Éditeur, Paris, France, Paperbound, 87 pp.
Creating Formidable Embodiment. Published in ICA Art Documents: NOW, Vol. 1., No. 1, May
2006 Beauty in the Age of Roadkill, The Subjects of the Abstract, Willem de Kooning: Paintings for the Living. Published in Spanish and English, Published by White Wine Press, No. 5, pp. 38
2009 The Artists’ Artists: Jonathan Lasker on Leon Kossoff. Published in ArtForum, December, p.88
2011 500 Words: Jonathan Lasker as told to Sherman Sam. Published in the online edition of ArtForum, December 14, http://www.artforum.com/words/#entry29708
 
Film, Videos and Radios
1997 Volkhard App, Redaktion Kulturspiegel, December 3, nine-minute radio broadcast on NDR1, Hanover, Germany
Jürgen P. Wallmann, Mosaik, December 3, one-hour radio broadcast on WDR3, Cologne, Germany
1999 Michael Blackwood Productions, “Speaking of Abstraction: A Universal Language”, video, Michael Blackwood, director
2000 Public Broadcasting System, Alabama (WBIQ), “Metro Monitor: For the Record–Matisse and Lasker at the Birmingham Museum”, July 25, 6:30 PM
2003 K20 Kunstsammlung Nordrhein-Westfalen, Düsseldorf, Germany, “Pia Müller-Tamm Talking to Jonathan Lasker”, video
2007 James Kalm, “Jonathan Lasker at Cheim and Read”
2008 vernissage.tv “Jonathan Lasker at Thomas Schulte Gallery”
2011 Daniel Sturgis, Stuart Cumberland, and Emma Dexter in conversation at Timothy Taylor Gallery, London, video, “Jonathan
Lasker: The 80’s”, Abstract Critical, November 11
2012 “Jonathan Lasker: The 80s”, video documentation of exhibition, Lars Bohman Gallery
“Jonathan Lasker: Recent Paintings”, video of the artist speaking about his work at Galerie Thaddeaus Ropac
James Kalm, video, “Jonathan Lasker at Cheim and Read”
Tyler Green, ART INFO, The Modern Art Notes Podcast, interview with Jonathan Lasker, November 1, 2012
 
Exhibitions Curated
2000 Rose Art Museum, Brandeis University, Waltham, MA, “Lasker Curates Paintings from the Brandeis University Art Collection”
2001 Eugene Binder, Long Island City, NY, “To Be a Mirror: Portraits by Six Painters”
Roger Smith, New York, “Rupprecht Geiger and Eugené Leroy: Sunbursts and the Earth’s Shelter”
 
Selected Public Collections:
Albright Knox Art Gallery, Buffalo, NY
Birmingham Museum of Art, Birmingham, AL
The Broad Art Foundation, Santa Monica, CA
The Corcoran Gallery of Art, Washington, DC
David Winton Bell Gallery, Brown University, Providence, RI
Fond National d’Art Contemporain, Paris, France
Fond Regional d’Art Contemporain, Auvergne, France
Fundacio “La Caixa”, Barcelona, Spain
Fundación Pedro Barrié de la Maza, Vigo, Spain
High Museum, Atlanta, GA
Hirshhorn Museum and Sculpture Garden, Washington, DC
ING Collection, Brussels, Belgium
Laguna Art Museum, Laguna Beach, CA
Los Angeles County Museum of Art, Los Angeles, CA
The List Center for the Visual Arts, Massachusetts Institute of Technology, Cambridge, MA
The Martin Z. Margulies Foundation, Miami, FL
Misumi Collection, Tokyo, Japan
Moderna Museet, Stockholm, Sweden
Mudam Luxembourg: Musée d’Art Modern Grand-Duc Jean, Luxembourg
Musée National d’Art Moderne, Centre Pompidou, Paris, France
Museo de Arte Contemporaneo, Seville, Spain
Museo Nacional Centro de Arte Reina Sofia, Madrid, Spain
Museum of Modern Art, New York
Museum Ludwig, Cologne, Germany
Museumslandschaft Hessen Kassel, Neue Galerie, Kassel, Germany
Nerman Museum of Contemporary Art, Johnson County Community College, Overland Park, Kansas
Orlando Museum of Art, Orlando, Florida
Phillip Schrager Collection of Contemporary Art, Omaha, NE
Progressive Companies, Pepperpike, OH
Sammlung Goetz, Munich, Germany
Staatliche Graphische Sammlung, Munich, Germany
Wacoal Art Center, Tokyo, Japan
Whitney Museum of American Art, New York
Wichita Art Museum, Wichita, Kansas