Lisi Raskin
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b. Miami, Florida. Lives and works in Brooklyn, New York.
EDUCATION
| 2003 | Columbia University, School of the Arts, New York: MFA |
| 1996 | Brandeis University, Waltham, Mass.: BFA, High Honors |
SOLO EXHIBITIONS
| 2014 | Recuperative Tactics, Art in General, New York |
| Mutual Immanence, Churner and Churner, New York | |
| 2012 | MotorPark (in collaboration with Kimberly Kay), ICA Maine College of Art, Portland, Maine, curated by Daniel Fuller |
| Shots in the Dark, Churner and Churner, New York | |
| 2010 | Kriegswichtig, Reception, Berlin |
| Raskin/Hauptman: Kriegswichtig, Reception, Berlin | |
| Mt. Disappointment, The Company, Los Angeles | |
| 2009 | Warning Warum, Dia Art Foundation, New York, curated by Lynne Cooke |
| Sunday Punch II (Barbarossa Style), Art Berlin Contemporary with Milliken Gallery, Berlin | |
| Launch-on-Tactical-Warning, Riccardo Crespi, Milan | |
| Armada, Workspace Series, The Blanton Museum, University of Texas at Austin, curated by Risa Puleo | |
| Sculpture Park, Volta with Galleria Riccardo Crespi, New York | |
| 2008 | Mobile Observation Station (Receiving Station), Bard Center for Curatorial Studies/Hessel Museum, Annandale-on-Hudson, New York, curated by Maria Lind |
| Topside, Milliken Gallery, Stockholm | |
| 2007 | Switchyard, Guild & Greyskuhl, New York |
| Project Esrange (and other research), Signal Galeri, Malmoe | |
| Project Esrange (and other research), Gävle Konstcentrum, Gävle | |
| 2006 | High Positive Void Coefficient, Ricardo Crespi Gallery, Milan, curated by Gabi Scardi |
| Jack Shack (Dirty Bomb), PS1 MoMA, Long Island City, New York, curated by Bob Nickas | |
| 2005 | (Remote Location) Observation Station, Transmission Gallery, Glasgow |
| Parallel Telegram, Kuenstlerhaus Bethanien, Berlin |
SELECTED GROUP EXHIBITIONS
| 2014 | Subjective Views: Cauleen Smith, Emre Hüner, Lisi Raskin, Saat Saath Arts Foundation, Dehli, India. Curators: Dieter Roelstraete, Mari, and Laura Raicovich |
| 2013 | Momentum 7, The Nordic Biennal for Contemporary Art, Moss, Norway, curated by Power Ekroth |
| 2012 | Radical Terrain, The Rubin Museum of Art, New York, curated by Beth Citron |
| Estate, Marianne Boesky Gallery, New York, curated by Lucie Fontaine | |
| (Anti)Subject, FAB Gallery, Virginia Commonwealth University, Richmond Virginia (zine) | |
| 2011 | Drawn to Disaster, ICA Maine College of Art, Portland, curated by Daniel Fuller |
| CLAP, CCS Bard Hessel Museum of Art, Annandale-on-Hudson, New York, curated by Nova Benway, Michelle Hyun, Nathan Lee, Dylan Peet and Tom Eccles | |
| 3rd Singapore Biennial, Old Kallang Airport, Singapore (catalog) Curators: Russell Storer, Trevor Smith | |
| Time Machine in the Atomic War Command, Konjic, Bosnia (catalog) Curator: Branko Dimitrijevic | |
| 2010 | Catch Me! Grasping Speed, Kunsthaus Graz, Austria (catalog) Curator: Katrin Bucher |
| 2009 | NapTime, as part of Object of Study/Subject of Learning, The Blanton Museum of Art, University of Texas at Austin, curated by Risa Puleo and Anna Craycroft |
| On From Here, Guild and Greyshkul, New York | |
| 100 Years, MoMA PS1, Long Island City, New York, curated by Klaus Biesenbach | |
| Do They Love Their Children Too?, Milliken Gallery, Stockholm | |
| 11th International Istanbul Biennial, Istanbul (catalog), curated by WHW | |
| The Red Thread, Tanas Gallery, Berlin, curated by WHW | |
| 2nd International Athens Biennial, Athens (catalog), curated by Chus Martinez | |
| The Stars in the Sky are Still Boss, Reed Gallery, University of Cincinnati, Ohio, curated by Matt Distel | |
| Project Esrange (and other research), The Company, Los Angeles | |
| 2008 | Command and Control, ADAA Fair, New York, curated by Maria Lind |
| Able Archer ’83 (multi-character narrative drama on vinyl), Country Club/Iconoclast Editions, Cincinnati, Ohio, curated by Matt Distel | |
| Self-Storage, The Hardware Store Gallery, San Francisco | |
| Through the Glass, Darkly, Redline Inaugural Exhibition, Denver, curated by Jenny Schlenzka | |
| Soft Manipulation, commissioned by Zoran Eric, Maria Lind, and Enrico Lunghi, Casino Luxembourg, as part of Who’s Afraid of the New Now? , Casino Luxembourg, Luxembourg (catalog) | |
| The Possibility of an Island, Museum of Contemporary Art, Miami | |
| Katastrophenalarm, NGBK, Berlin | |
| 2007 | Green Dreams, Kunstverein Wolfsburg, Germany, curated by Christine Heidemann |
| Formalities, IASPIS Project Space, Stockholm, curated by Maria Lind | |
| What Remains, Lambretto, Milan, curated by Marco Tagliafierro | |
| The Line of Time + The Plane of Now, Wallspace and Harris Lieberman Gallery, New York, curated by Halsey Rodman, Jacob Dyrenforth, Ohad Meromi | |
| Pensée Sauvage, Frankfurter Kunstverein and Ursula Blickle Stiftung, Frankfurt, curated by Chus Martinez | |
| Jardins d’Amis, Immanence, Paris, curated by Christine Heidemann | |
| Sonotube Forms: Contemporary Art and Transport, Santa Barbara Contemporary Arts Forum, Santa Barbara, Calif. | |
| Shared Women, LACE, Los Angeles, curated by A.L. Steiner, Eve Fowler, Emily Roysdon | |
| Emergency, PS1 MoMA, Long Island City, New York, curated by Thierry Geoffrey | |
| 2006 | Written in Light, Bloomberg LP, New York, curated by Zeljka Himbele |
| 2005 | Spring Loaded Amalgam, Art Forum Berlin, curated by Valeria Schulte-Fischedick |
| Atomica, Lombard-Freid, New York | |
| Hunch and Flail, Artists Space, New York, curated by Amy Sillman | |
| Greater New York 2005, PS1 MoMA, Long Island City, New York, curated by Alana Heiss, Klaus Bisenbach, Bob Nickas | |
| Who’s the Protagonist, Guild & Greyshkul, New York, curated by Ohad Meromi | |
| 2004 | December 13th Group, Artists Space, New York |
| Salad Days, Artists Space, New York, curated by Jeffery Walkoviac | |
| Skull Turner, Year Project, Brooklyn, curated by Meredith Sparks and Ellie Ga | |
| Free Radio HDTS, High Desert Test Sites 4 at High Desert Test Sites, Joshua Tree, Calif.; Strange Animals at L.A.C.E., Los Angeles, curated by Fabienne Lasserre and Christy Gast | |
| Field, Socrates Sculpture Park, Long Island City, New York, curated by Alyson Baker | |
| Art in the Office, Global Consulting Group, New York, curated by Matt Keegan | |
| 2003 | Research Station, High Desert Test Sites 3, Joshua Tree, Calif. |
| 24/7, Contemporary Art Center, Vilnius, Lithuania (catalog), curated by Raimundas Malasauskas | |
| Ladies Night, video program, Richard Lohr’s Loft, New York | |
| MFA Thesis Exhibition, Columbia University, New York | |
| 2002 | Observatory, High Desert Test Sites 1 with Artists on Tour, Joshua Tree, Calif. |
| Procession, Columbia University, New York, curated by Eva Respini |
AWARDS AND RESIDENCIES
| 2013 | Creative Time Global Residency |
| 2012 | Quimby Foundation Grant with ICA at the Maine College of Art |
| 2010 | Artists’ Fellowship, Inc. |
| Meyer Foundation Fellowship | |
| 2008 | Artist in Residence, Center for Curatorial Studies, Bard College Annandale-on-Hudson, New York |
| 2007 | Artist in Residence, IASPIS, Stockholm, Sweden |
| 2005 | Guna S. Mundheim Berlin Prize in the Visual Arts |
| 2003 | American Austrian Foundation Hayward Prize |
| 2002 | Joan Sovern Sculpture Award |
| 2001 | Viar Merit Fellowship, Columbia University |
| 1998 | Mortimer Hays Traveling Fellowship |
| 1996 | Louis P. Rabinovich Award: Painting and Sculpture |
| 1995 | Gertrude Carnowsky Award: Creative Arts |
SELECTED BIBLIOGRAPHY
| 2014 | Priscilla Frank, “Get Your Quick And Dirty Arts Education With Haiku Reviews,” The Huffington Post (September 5,2014) |
| David Marcus, “Crafting Community, Caressing Form: An Interview with Lisi Raskin” Hyperallergic (June 22,2014) | |
| Juliet Helmke, “Lisi Raskin: Recuperative Tactics,”The Brooklyn Rail (June 5,2014) | |
| Liz Insogna, “Lisi Raskin’s Mutual Immanence,” Huffpost Arts and Culture (May 13 2014) |
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| Jeffrey Grunthaner, “New York Gallery Beat: 6 Critics Review 18 Shows- Art in General, Lisi Raskin” artnet news (May 7, 2014) | |
| “Exhibitions- The Lookout”, Art In America (April 2014) | |
| 2013 | Eric Bryan, “Creative Time Rethinks the Artist Residency for the Global Art World,” Artspace, December 13, 2013 |
| Rikard Ekholm, “‘Momentum 7’ i Moss,” Konsten, September 5, 2013 | |
| Rikard Ekholm, “Nordisk biennal. Mostridiga budskap i Moss,” Dagens Nyheter, September 5, 2013, p. 11 | |
| Lunettes Rouges,, “Dans le bunker de la Biennale de Bosnie, Tito est de retour,” Le Monde (May 6, 2013) | |
| Lisi Raskin, “Rumble on the Rails: USA, Russia, and Iran Embrace Each Other,” Creative Time Reports, May 20, 2013 | |
| 2012 | Nadyne Byrne, Eva Meyer, Lisi Raskin, Hinrich Sachs, Eran Schaerf and Joanna Zawieja, It’s Her (Scenes for a Play), OEI Editor, Stockholm (2012) |
| Lisi Raskin, “Redacted Histories of the Space Race,” Creative Time Reports (November14, 2012) | |
| Lizzie Feidelson, “National Treasures,” Triple Canopy (October, 4 2012) | |
| Rose Marcus, “Legit Admin: Conversations with Sheila Pepe and Lisi Raskin,” DIS Magazine (May 25, 2012) | |
| Sasha Frere-Jones, “Triple Canopy: ‘Slowing Down the Internet,’ The New Yorker (January 17, 2012) | |
| Ryan Steadman, “Shots in the Dark: 2005-2012,” Critical Mob (March 14, 2012) | |
| Dominick D. Lombardi. “Lisi Raskin: Shots in the Dark,” Mana Fine Arts (March 22, 2012) | |
| 2011 | Katrina Stewart Santiago, “Art Space (Un)Defined,” GMA News (March 16, 2011) |
| Lisi Raskin, “Endgame Tourism,” Triple Canopy, December 2011 | |
| Brian Lin, “Moving Displays,” The Star Online, March 20, 2011 | |
| Brian Droitcour, “Scene and Heard: Cool Factor,” Artforum.com, March 20,2011 | |
| Elaine Ee, “Singapore Biennale: The Bluffers Guide,” CNN International (March 22, 2011) | |
| 2010 | Mary Anna Pomonis, “Lisi Raskin, The Company, Los Angeles,” Flash Art International (October 2010), p. 119 |
| Matt Morris, “Pictures and Statues: Country Club Affirms the Relevance of the Handmade,” City Beat (July 7, 2010) | |
| 2009 | Stephanie Bailey, “Heaven 2nd Athens Biennale,” Art Papers (September/October 2009), pp. 40-41 |
| Power Ekroth, “What Keeps Mankind Alive? The 11th Istanbul Biennial,”Flash Art International (November/December 2009), p. 30 | |
| Ceci Moss, “Lisi Raskin’s “Warning Warum” on Dia’s Artists’ Web Projects,” Rhizome, November 16, 2009 | |
| Daniel Fuller, “No Nukes,” Art 21 Blog (August 2009) | |
| Kate Green, “Lisi Raskin: Blanton Museum of Art,” Art Lies (Summer 2009), p. 85 | |
| Nicola Trezzi, “Craft: From Commodities to Talismans, Modernity as a Remedy to the Aftermath,” Flash Art International (July-September 2009), pp. 58-61 | |
| Lisi Raskin as told to Lauren O’Neill Butler, “500 Words,” Artforum.com (March 23, 2009) | |
| Lisi Raskin: Mobile Observation, ed. Center for Curatorial Studies and Art in Contemporary Culture, Bard College, and Riccardo Crespi | |
| 2008 | Brian Droitcour, “Interview with Lisi Raskin,” Rhizome.org (December 17, 2008) |
| Mary Voelz Chandler, “Redline Shows its Potential,” Rocky Mountain News, October 31, 2008 | |
| Paddy Johnson, “The ADAA Fair,” Art Fag City, February 25, 2008 | |
| Karen Rosenberg, “Cheeky Hipsters in the Halls of the Victorian Brigadiers,” The New York Times (February 22, 2008) | |
| Linda Yablonsky, “Best in Show,” Artforum.com, February 24, 2008 | |
| Carol Vogel. “Extra Art at the Armory,” The New York Times (January 11, 2008) | |
| Linda Sandler and Katya Kazakina, “Contemporary Art Show Draws Hedge Funds, Movie Stars in N.Y.,” Bloomberg.com (February 21, 2008) | |
| 2007 | Niels Hebert, “Nyfiken American staeller ut raketbas i Gaevle,” Arbetarbladet (August 18, 2007) |
| Bjorn Widegren, “Man maste se upp pa Konstcentrum,” Gefle Dagblad (August 18, 2007) | |
| Konstanze Cruewell, “Begugnung mit dem Fremden,” Frankfurter Allegemeine Zeitung (June 25, 2007) | |
| Carmela Thiele, “Eine Minute Niagrafall,” Badische Neue Nachrichten (June 22, 2007) | |
| Thiele Cruewell, “Begugnung min dem Fremden,” Frankfurter Allegemeine Zeitung, June 25, 2007 | |
| Collettiva: “Sedici artisti per la mostra-lampo <<Lambretto>>,” Corriere della Serra, September 20, 2007 | |
| Charles Donelan, “Sonotube Forms: Contemporary Art and Transport,” Santa Barbara Independent, July 26, 2007 | |
| Julia Byran-Wilson. “Lisi Raskin,” Artforum (May 2007), pp. 356-57 | |
| Holland Cotter, “Lisi Raskin: Switchyard,” The New York Times (May 11, 2007) | |
| Lillith Waltenberg, “Raketkoll,” Dygnet Runt (May 4-10, 2007) | |
| Barbara Casavecchia, “Lisi Raskin at Riccardo Crespi.” Flash Art (December-January 2007) | |
| 2006 | Mick Peter, “Lisi Raskin at Transmission Gallery,” C Magazine (March 2006) |
| Lucia Pesapane, “Lisi Raskin at Riccardo Crespi,” Tema Celeste (December 2006), p. 29 | |
| 2005 | Ben Rutter, “It’s Pronounced Nu-cle-ar,” NY Arts 10, no. 9 (September-October 2005) |
| Carrie Moyer, “Not By Design,” The Gay City News 75, no. 29 (July 21- 27, 2005) | |
| Holland Cotter, “Fanciful to Figurative to Wryly Inscrutable,” The New York Times (July 8, 2005) | |
| Kirsten Reinhardt, “Besuch im Bunker,” Berliner Zeitung (January 29, 2005) | |
| Marc Handelman and Lisi Raskin, “I’ll Let You Be in My Dream if I Can Be in Yours,” North Drive Press (June 2005) | |
| 2004 | Tom Johnson, “Field: Science Technology and Nature,” The Brooklyn Rail (September 2004) |
| Ken Johnson, “Field: Science, Technology and Nature,” The New York Times (July 23, 2004) |
“For more than a decade artist Lisi Raskin has been making works that investigate sites of foreign and domestic conflict, particularly those associated with the Cold War.”
David Marcus, “Crafting Community, Caressing Form: An Interview with Lisi Raskin” Hyperallergic (June 22,2014)
Download PDF
“The installation feels like a kid’s playroom, and were it not for the raw timber with threat of splinters and occasional images of nudity, it might be.”
Juliet Helmke,”Lisi Raskin: Recuperative Tactics”,The Brooklyn Rail (June 5,2014)
“Mutual Immanence, a show of paintings by Lisi Raskin at Churner and Churner gallery, are works that bare a subtle vibrance and power piece by piece.”
Liz Insogna, “Lisi Raskin’s Mutual Immanence” Huffington Post Arts and Culture (May 13,2014)
“Raskin’s Recuperative Tactics uses a wooden wall installation as a backdrop for works in diverse media, from crafts, to video, to lectures, to events.”
Jeffrey Grunthaner, “New York Gallery Beat: 6 Critics Review 18 Shows- Art in General, Lisi Raskin” artnet news (May 7,2014)
“Raskin’s abstract painted wood-and-paper wall sculptures—some the size of postage stamps, others a couple of feet wide—resemble the fragmented surface of cracked earth or a bird’s-eye view of a fractured, war-torn country.”
Exhibitions- The Lookout, Art In America (April 2014)
“Whether it stops in Darfur or Afghanistan, the war-machine consistently churns out death and there is nothing it seems we can do to stop it. Lisi Raskin’s response is to de-fang the symbols of war, which she does by using the grammar of her past works.”
Ryan Steadman, “Shots in the Dark: 2005-2012″, Critical Mob (February 23,2012)
“Lisi Raskin’s fascination with military- industrial complex has long been central to her artistic practice.”
“Lisi Raskin: Shots in the Dark, Editor Pic”, ARTINFO (February 21,2012)
“For all of her obsession with the tenuous balance of military powers over the last 60 or 70 years, Lisi Raskin leaves us with artful objects that disarm from the very start.”
D. Dominick Lombardi, “Lisi Raskin: Shots in the Dark”, Mana Contemporary (March 22,2012)
“The playful interface recalls Raskin’s signature childlike style, complete with construction paper collages and handwritten buttons.”
Ceci Moss, Lisi Raskin’s “Warning Warum” on Dia’s Artists’ Web Projects, Rhizome, 2009
“Over the past ten years, the Brooklyn-based artist Lisi Raskin has explored fear, cold-war tensions, and sites that rely on nuclear power in her works.”
Lisi Raskin as told to Lauren O’Neill Butler, “500 Words,” Artforum.com (March 23, 2009)
“Lisi Raskin’s New York solo debut stretches drawing to installation size and projects it beyond the gallery.”
Holland Cotter, “Art in Review; Lisi Raskin-Switchyard”, New York Times (May 11,2007)
Download PDF“Lisi Raskin once spent an entire month looking for nuclear submarines.”
Julia Bryan-Wilson, “Lisi Raskin”, Artforum (May 2007)
Download PDF
“Lisi Raskin’s installation Jack Shack (2006) consists of a life-size cross section of an imagined dirty bomb factory that the viewer can enter.”
Bob Nickas, MoMA PS1 Greater New York Book (2006)
Download PDF“Mutual Immanence, a show of paintings by Lisi Raskin at Churner and Churner gallery, are works that bare a subtle vibrance and power piece by piece.”
Liz Insogna, “Lisi Raskin’s Mutual Immanence,” Huffpost Arts and Culture (May 13 2014)