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Lisi Raskin


b. Miami, Florida. Lives and works in Brooklyn, New York.


2003 Columbia University, School of the Arts, New York: MFA
1996 Brandeis University, Waltham, Mass.: BFA, High Honors



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




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



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



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)
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,”, 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,” (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,” (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,”, 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.,” (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)

“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,” (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)

“Lisi Raskin once spent an entire month looking for nuclear submarines.”

Julia Bryan-Wilson, “Lisi Raskin”, Artforum (May 2007)

“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)

“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)