1964 Born Inglewood, New Zealand.
Lives Berlin, Germany.
EDUCATION
1984-1986 Elam School of Fine Arts Auckland, New Zealand.
2008
Persepolis, Arnolfini, Bristol, United Kingdom
Lender of Last Resort, Vilma Gold stand, Frieze Art Fair, Regents Park, London, United Kingdom
Lender of Last Resort (presented in The Place to Be), Kröller-Müller Museum, Otterlo, Netherlands, curator Marcus Lütkemeyer
2007
Answers to Some Questions About Bananas, Vilma Gold, London, United Kingdom
Persepolis 2530, Art Unlimited Art Basel 38, Basel, Switzerland
2006-2007
c/o the Central Bank of Guatemala, Capp Street Project, Wattis Institute of Contemporary Arts, CCA, San Francisco, USA
2006
Kunstbank (with Iris Kettner), Berlin, Germany
2005
Art of the Eighties and Seventies, Stadliches Museum Abteiberg,
Monchengladbach, Germany
Ian Fairweather. An Artist of the 21st Century, Lismore RegionalGallery, Australia
The Gift: the form and reason for exchange in archaic societies, NAK, Neuer Aachener Kunstverein, Aachen, Germany
The Smiles Are Not Smiles, Vilma Gold, London, United Kingdom
Die Aufteilung Michael Stevenson, ceremony, NAK, Neuer Aachener Kunstverein, Aachen, Germany
Economics in Thirty Fascinating Minutes, Wattis Institute CCA, SanFrancisco (cat.), USA
2004
ARGONAUTS OF THE TIMOR SEA, (In association with the Twodo Collection and the NAK, Aachen, Germany) Darren Knight Gallery, Sydney, Australia
Keim, (with Cornelia Schmidt-Bleek) Galerie Kamm, Berlin, Germany
Rakit, Herbert Read Gallery, Kent Institute of Art & Design, United Kingdom
2003
This is the Trekka, New Zealand Pavilion, Venice Biennale, Venice, Italy
The Invisible Hand (an event at) Portikus im Leinwaldhaus, Frankfurt am Main, Germany
An Evening without Jörg Immendorf, Kunstleratelier, Berlin, Germany
International Studio Programme, Künstlerhaus Galleries, Künstlerhaus Bethanien, Berlin, Germany
This is the Hand, Hamish McKay Gallery, Wellington
To Our German Friend, Vilma Gold, London, United Kingdom
2002
An evening with Jörg Immendorff, The Hyatt Auckland, New Zealand
2001
Immendorff in Wellington, Hamish McKay Gallery, Wellington, New Zealand
2000-2001
Call Me Immendorff, Gallerie Kapinos, Berlin, Germany
2000
Daily Practice, with Danius Kesminas ACCA, Melbourne, Australia
Slave Pianos Internationale Biennale 2000 - Songs of Life, RMIT Gallery, Court House Hotel and ACCA, Melbourne, Australia
Genealogy (with Steven Brower), Govett-Brewster Art Gallery, New Zealand
Separated at Birth/ Daily Practice, Lombard/Freid Fine Arts, New York, USA
Slave Pianos, China Art Objects Gallery, Los Angeles, USA
The Compromised Economy of Desire and Fear, with Slave Pianos Collective, The Public Office Carpark, Melbourne, Australia
Daily Practice (with Danius Kesminas), The Center for Contemporary Photography, Melbourne, Australia
Daily Practice (with Danius Kesminas), Artspace, Auckland, New Zealand
1999
Slave Pianos, Lovers, Melbourne, Australia
Slave Pianos, Darren Knight Gallery, Sydney, Australia
Slave Pianos!! Emancipate the dissonance!, Lombard/Freid Fine Arts, New York, USA
1998
The Gift of Critical Insight, Lombard-Freid Fine Arts, New York, USA Hamish McKay Gallery, Wellington, New Zealand
1997-99
Pre Millennial (with Ronnie van Hout); Contemporary Art Centre of South Australia, Adelaide; Australian Centre for Contemporary Art, Melbourne; Darren Knight Gallery, Sydney, Australia; City Gallery Wellington Te Whare Toi, Wellington; Dunedin Public Art Gallery, Dunedin; McDougall Art Annex, Christchurch; Sarjeant Gallery, Wanganui, Auckland Art Gallery, Auckland, New Zealand.
1997
City Gallery Wellington Te Whare Toi, Wellington, New Zealand
Let Those Who Ride Decide, The Physics Room, Christchurch, New Zealand
1996
Darren Knight Gallery DKW, Melbourne, Australia
Trevor Smith's garage, Canberra, Australia
Screen Options, Australian Centre for Photography, Sydney, Australia
1995
Hamish McKay Gallery, Wellington, New Zealand
Darren Knight DKW, Melbourne, Australia
Teststrip, Auckland, New Zealand
1994
Hamish McKay Gallery, Wellington, New Zealand
Gregory Flint Gallery, Auckland, New Zealand
Darren Knight DKW, Melbourne, Australia
1993
Govett-Brewster Art Gallery, New Plymouth, New Zealand
Manawatu Art Gallery, Palmerston North, New Zealand
Darren Knight DKW, Melbourne, Australia
1992
Gregory Flint Gallery, Auckland, New Zealand
1991
Gregory Flint Gallery, Auckland, New Zealand
Manawatu Art Gallery, Auckland, New Zealand
1990
Ray Hughes Gallery, Sydney, Australia
Gregory Flint Gallery, Auckland, New Zealand
1989
Southern Cross Gallery, Wellington, New Zealand
1988
Southern Cross Gallery, Wellington, New Zealand
Manawatu Art Gallery, Palmerston North, New Zealand
SOLO EXHIBITIONS ||| GROUP EXHIBITIONS ||| BIBLIOGRAPHY ||| PAGE ART/WEBSITE PROJECT
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2004
Berlin Nord, Hamburger Bahnhof, Berlin, Germany
Korrekturen, Gallerie Kamm, Berlin, Germany
2003
Home Sweet Home: Works from the Peter Fay Collection, touring National Gallery of Australia,
Nine Lives, The 2003 Chartwell Exhibition, New Gallery Auckland Art Gallery Toi o T_maki, Auckland, New Zealand
(with Mikala Dwyer & Ronnie van Hout), Hamish McKay Gallery, Wellington, New Zealand
2002-2003
Summer Show, The Ian Potter Museum of Art, University of Melbourne, Australia
2002
(The World May Be) Fantastic, Biennale of Sydney, Art Gallery of New
South Wales, Sydney, Australia
The Walters Prize, Auckland Art Gallery Toi o Tamaki, Auckland, New Zealand
Prophets of Doom, Kunsthalle Baden-Baden, Germany
Profiler, Kunstlerhaus Bethanien, Berlin, Germany and Govett-Brewster Art Gallery, New Plymouth, New Zealand
Kunstverein, Düsseldorff, Germany
2001
Canceled Art Fair, China Art Objects Galleries, Los Angeles, USA
Audit, Casino Luxembourg - Forum d’art contemporain, Luxembourg
The Broccoli Maestro and The Strange Voyage of Bas Jan Ader, Chamber Operas by Slave Pianos, Neuer Aachener Kunstverein, Aachen and Malkasten, Dusseldorf, Germany
Wiederaufnahme – Retake, Neuer Aachener Kunstverein, Aachen, Germany
Heatwave: recent acquisitions to the permanent collection, Govett-Brewster Art Gallery, New Plymouth, New Zealand
Superman in Bed, Kunst Der Gegenwart und Fotografie Sammlung
Shürmann, Museum am Ostwall Dortmund, Germany
The Broccoli Maestro. A Chamber Opera in Two Acts for Six Voices and Six Players. Libretto by Slave Pianos, presented in collaboration with Chamber Made Orchestra, Melbourne, Australia
2000
Non-Objective Brass, Slave Pianos with The Burley Griffin Brass Band, National Galley of Australia, Canberra, Australia
Drive, Govett-Brewster Art Gallery, New Plymouth, New Zealand
Slave Pianos, 4th Sergey Kuryokhin Festival, Leningrad Palace of Youth, St.Petersburg, Russia
Rent, Overgaden, Copenhagen, Denmark
1999-2000
Wonderlands, Govett-Brewster Art Gallery, New Plymouth, New Zealand
1999
What Your Children Should Know About Conceptualism, (with Danius Kesminas), Neuer Aachener Kunstverein and Brandenburgischer Kunstverein Potsdam, Germany
Manufacturing Meaning; The University of Wellington Art Collection in Context, Adam Art Gallery, Wellington, New Zealand
Toi, Toi, Toi, Three Generations of Artists (with Danius Kesminas), Museum Fridericianum, Kassel; Auckland Art Gallery, New Zealand
1998
Ground Control, Lombard-Freid Fine Arts, New York, USA
Entropy at Home, Neue Gallerie, Ludwig Museum, Aachen, Germany
1997-98
Seppelt Contemporary Art Award 1997, Museum of Contemporary Art, Sydney, Australia
1997
Drawings, Annina Nosei Gallery, New York, USA
Selections Fall '97, The Drawing Centre, New York, USA
Lawyers, Guns and Money, Experimental Arts Foundation, Adelaide, Australia
Power, Corruption and Lies, Institute of Modern Art, Brisbane, Australia
Multiplication: the multiple object in art, Monash University Gallery, Melbourne, Australia
1996
The Adelaide Biennial of Australian Art, Art Gallery of South Australia, Adelaide, Australia
Reservoir, Lake Macquarie City Art Gallery, Lake Macquarie, Australia
Seven New Zealand Artists, Mornington Peninsula Regional Gallery, Victoria, Australia
Recent Acquisitions, National Gallery of Australia, Canberra, Australia
1995-96
Hangover, Waikato Art and History Museum, Hamilton; Govett- Brewster Art Gallery, New Plymouth; Dunedin Public Art Gallery, Dunedin; Robert McDougall Art Gallery, Christchurch, New Zealand
1995
A Very Peculiar Practice, City Gallery, Wellington, New Zealand
Chartwell Collection, Waikato Art and History Museum, Hamilton, New Zealand
Artists' Protests, Westspace, Melbourne, Australia
1991-92
Distance Looks Our Way , Pubellon de las Arles, Expo, Seville; Stelling Gallery, Leiden, Netherlands; Centro Cultural de Conde Duque, Madrid; Centro Cultural de Caja Espana, Zamora; Centre Civic Casa Elizalde, Barcelona; Auckland City Art Gallery; City Gallery Wellington; Sarjeant Gallery, Waganui, New Zealand
1990
Jonathan Jensen Gallery, Christchurch, New Zealand
1989
Sue Crockford Gallery, Auckland, New Zealand
After McCahon, Auckland City Art Gallery, New Zealand
Constructed Intimacies, Inaugural Moet and Chandon Art Foundation Touring Exhibition, Auckland City Art Gallery;Sarjeant Gallery, Wanganui; National Gallery, Wellington; Robert McDougall Art Gallery, Christchurch, New Zealand
SOLO EXHIBITIONS ||| GROUP EXHIBITIONS ||| BIBLIOGRAPHY ||| PAGE ART/WEBSITE PROJECT
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SELECTED BIBLIOGRAPHY
Barbour, J.'Revisionary Notes', review, Broadsheet, Vol.25 No.2 Winter 1996.
Barton, C. 'Afterwords: Conversation around McCahon', After McCahon, exhibition catalogue, Auckland City Art Gallery, 1989.
Barlow, G. ‘Argonauts of the Timor Sea’, Broadsheet, Contemporary Art Centre of South Australia, September - November 2004, pp 54-57
Baskett, P. ‘Cultural Conquerors’, NZ Herald, 22 May 1999
Benzie, T. ‘In the Frame’, The Sun Herald, 23 May 2004
Bilborough, M. 'Blurring the Dividing Line', Evening Post, 16 February 1989.
Bolton, K. 'PreMillennial', review, LIKE, Spring 1997
Butler, R. 'The problems with paranoia', PreMillennial catalogue, 1997
Butler, R. ‘Mike Stevenson: Accidental Artist', Australian Art Collector Magazine, July - September 1997.
Craig, D. 'Can You Guess Where I'm Calling From?', exhibition catalogue, Gregory Flint Gallery, Auckland, 1994.
Craig, D. 'If I Can't Wear My Old Wrangler Shirt I'm Not Going', exhibition catalogue, Hamish McKay Gallery, Wellington, 1994.
Craig, D. 'Taranaki Gothic: stalking the grotesque in provincial art', The Seppelt Contemporary Art Award1997, catalogue, Museum of Contemporary Art, Sydney, Australia
Craig, D. ‘The aircraft carrier, the paddy field, the late modern institution’ in Art of the Eighties and Seventies, Städtisches Museum Abteiberg, Mönchengladbach, Revolver – Archiv für aktuelle Kunst, Frankfurt, 2006, pp. 77-121.
Craig, D. ‘Post-Fordism, Neo-Trekkaiasm: or, the cultural contridictions of late provincial modernism’ in This is the Trekka, New Zealand Pavillion, Venice Biennale, Revolver – Archiv für aktuelle Kunst, Frankfurt and City Gallery, Wellington, 2003, pp. 41-61.
Craig, D. ‘Michael Stevenson’s show “The Gift”, Neuer Aachener Kunstverein, Aachen, Germany: the big dismembering night, Saturday 21st May’ Natural Selection Issue 5, 2006
Dannatt, A. ‘Duchamp and Beuys, not Debussy and Beethoven’, The Art Newspaper, No.99, January 2000
Dillon, B. ‘Michael Stevenson’, frieze, March 2005 Issue 89
Duncan, M. Self-Created Worlds, Art in America, October 2002
Eggleton, D. 'Cult Encounters', review 'Hangover', Listener, 21 December 1996.
Ehmann, F. ‘Exhibitions’, Sydney Morning Herald Metro, 28 May – 3 June 2004.
Emery, J. 'Harvesting Conflict's Crop', Adelaide Advertiser, 1 March 1996.
Fitzgerald, M. ‘Remastering the record’ Time Magazine, 29 August 2005
Fitzgerald, M. ‘Driving out Demons’ in Time Australia, June 30 2003, p. 56-58.
Grayson, R. Biennale of Sydney 2002, ‘The world may be fantastic’, Exhibition Guide
Gardiner, S. ‘New Zealand: The Watlers Prize 2002’, Art Monthly, no. 153, September 2002
Green, C. Exhibition Review, Artforum, May 1995.
Greason, D. 'Mike Stevenson', exhibition catalogue, 1996 Adelaide Biennial of Australian Art, Art Gallery of South Australia, 1996.
Genocchio, B. Something borrowed, dark and sceptical', review, Business Review Weekly, October 6, 1997.
Gleadell, C. ‘Art Sales: building a new art hub’ in The Daily Telegraph, April 10, 2005
Harvey, N. ‘Celebration at Persepolis’ in Frieze, no. 116, June – August 2008
Hart, D. ‘Home Sweet Home: an artist-collector’s passion’, Home Sweet Home: Works from the Peter Fay collection exhibition catalogue, National Gallery of Australia, Canberra, Australia
Heizer, J. ‘Art as a National Benchmark/Kunst im nationalen Leistungsvergleich’ (exhibition brochure), New Zealand Pavillion, Venice Biennale, Künstlerhaus Bethanien, 2003
Holcroft, J. Slave Pianos, review, LIKE, Art Magazine, No.9 Winter 1999
Hjorth, L. Mortgage, review, Broadsheet, Volume 29/4, Contemporary Art Centre of South Australia, December 2000
Huppatz, D. 'Dr Chapman's Group Therapy', review, Broadsheet, Vol. 25, No.2, Winter 1996.
Huppatz, D. ‘PreMillenial: Signs of the Soon Coming Storm, Globe-E Journal, Issue 6 1997
Ingram, T. ‘Get ready for a big boom in sonic art’, The Australian Financial Review, Weekend 17-18 June 2000
Intra, G. 'Hangover' review, Art and Text, No.54, May 1996.
Intra, G. 'For Paranoid Critics', PreMillennial catalogue, 1997.
Intra, G. ‘Slave Artists of the Piano Cult: An Introduction’ in Slave Pianos: A Reader, Revolver – Archiv für aktuelle Kunst, Frankfurt, 2001, pp.37-48.
James, B. `Chapman's Casper', review, Art Monthly No.88 April 1996.
James, B. 'Galleries', Sydney Morning Herald, 16 August 1996.
Koop, S. '1996 Adelaide Biennial of Australian Art’, review, Art and Text No.54, May 1996.
Kremer, B. Künstlerhaus Bethanien Berlin Internationales Atelierprogramm 2002/2003, Germany
Labelle, C. ‘Mike Stevenson and Danius Kesminas’ in Frieze, no. 53, June-August 2000, pp.122-123.
Laird, T. ‘Genealogy’, review, Eyeline, Number 43, Spring 2000
Leonard, R. ‘The Walters prize’, Gallery News, Auckland Art Gallery, 2000
Leonard, R. 'Smokers Please', interview, Midwest 4, pp 33-39, 1994.
Leonard, R. ‘Mike Stevenson, Steven Brower’, review, Artext, No.71, November 2000 – January 2001
Leonard, R. ‘Gift horse’ in The 5th Asia-Pacific Triennial of Contemporary Art Exhibition catalogue, Queensland Art Gallery Publishing, 2006, pp. 222 - 225
Lindsay, S. ‘Latter-day prophets’, Gallery News, Auckland Art Gallery, March April May 1999
McAloon, W. 'Situation and Style, Vestiges of Regionalism in Recent New Zealand Art', Jonathan Jensen Gallery, Christchurch, 1990.
McAuliffe, C. ‘Mike Stevenson’ in Toi, Toi, Toi: Three Generations of Artists from New Zealand, catalogue, Museum Fridericianum, Kassel, Germany and Auckland Art Gallery Toi o Tamaki, 1999, pp.168-177
McAuliffe, C. 'The Illuminarti', World Art, #2, pp 22-27, 1996.
McDonald, J. 'The Shock of the Decadent', Sydney Morning Herald, 9 March 1996.
McDonald, J. 'The schlock of the new', Sydney Morning Herald, 22 November 1997
McDonald, E. 'Reservoir', exhibition catalogue, Lake Macquarie City Art Gallery, 1996
McKenzie, R. 'Of Cults and Conspiracies', The Age, 11 October 1995.
McKenzie, R. 'Technique Counts in Sex and Politics', The Age, 19 June 1996.
McNamara, T.J. ‘No slaves to tradition, us’, NZ Herald, 29 May 1999
Mahony, E. ‘Michael Stevenson’ in The Guardian, 8 February 2008, http://arts.guardian.co.uk/art/visualart/story/0,,2254687,00.html
Matthews, P. ‘Art as Conspiracy’, The Listener, May 8 1999
Moulton, A. ‘Michael Stevenson’ in Flash Art, 2005
Nelson, R. 'Documents of Protest', The Age, 1 November 1995.
O’Connell, S. ‘Slave Pianos’, review, art/text #67 1999
Paton, J. ‘Frequent Flyers. Toi Toi Toi in Auckland, Art New Zealand, Number 92, Spring 1999
Pound, F. 'In the Wake of McCahon: A Commentary on After McCahon', Art New Zealand 52, Spring 1989.
Radok, S. 'Shagged and Tagged', Adelaide Review, March 1996.
Raphael, M. 'Signs of Life', Listener, 21 August 1993.
Rees, S. Sifting the Dust-Bin of History, Visit, #6, Govett-Brewster Art Gallery Publications, winter-spring 2003
Rooney, R. 'Just Deserts', The Australian, November 12-13, 1994.
Rugoff, R. ‘50th Venice Biennale’ in Frieze, issue 77, Sept. 2003, pp. 94-95.
Sayers, A. `Two Drawings by Mike Stevenson', artonview, National Gallery of Australia, Issue No.5, Autumn 1996.
Schofield, L. 'Surviving the millennium', Broadsheet Vol 26 No3, Contemporary Art Centre of South Australia, 1997.
Shadbolt, B. ‘Daily Practice’, exhibition catalogue essay, Australian Centre for Contemporary Art, October 2000
Shaw, E. ‘Millennium art takes different view’, review, Nelson Mail, 17 September 1999
Simpson, P. ‘A German View of Kiwi Art’, Sunday Star Times, June 1999, New Zealand
Smee, S. 'Bin there, done art', Sydney Morning Herald (Metro), 10 October 1997
Smee, S. ‘Slave to the music’, review, Sydney Morning Herald, 10 August 1999
Smith, A. The Walters Prize, 2002, catalogue essay, Auckland Art Gallery Toi O Tamaki, 2002
Snowden, T. 'Mike Stevenson', review, Art and Text No.55, October 1996.
Sorbello, M. ‘Michael Stevenson’, teme celeste, March-April 2001
Speedy, B. ‘Trekking in Venice’, Arts News New Zealand, Autumn 2003
Standring, D. 'Bad Habits' exhibition catalogue, Gregory Flint Gallery, Auckland, 1993.
Standring, D. 'Between Remembering and Forgetting - Painting at the Periphery', exhibition catalogue, 'Distance Looks Our Way', Wellington, 1992
Stevenson, M. c/o the Central Bank of Guatemala exhibition catalogue, Capp Street
Stevenson, M. Art of the eighties and seventies Museum Abteiberg Mönchengladbach, 2006
Stevenson, M. ‘Hydromechanical Analogue Research Archive (2002-)’ in Master Humphrey’s Clock www.masterhumphreysclock.nl/html/Michael_Stevenson-EN.html
Project, Wattis, Institute of Contemporary Arts, CCA, San Francisco, USA, 2006
Tegart, L. Team New Zealand: New Zealand at Venice, Art Monthly Australia, #163, September 2003
von Schlegell, M. ‘Mike Stevenson & Danius Kesminas’, Frieze, Vol. XXXIII no.212, May June 2000
Walker, P. 'Here We Are, We Exist', Listener, 10 February 1994.
Withers, R. ‘Michael Stevenson’, review, Artforum, April 2005.
Wright, N. ‘Project reviews Y2K fever’, review, The Press, Christchurch, 22 September 1999
Wyndham, C. ‘The Hydraulic Economy’ in Financial Times, Monday August 6, 2007
SOLO EXHIBITIONS ||| GROUP EXHIBITIONS ||| BIBLIOGRAPHY ||| PAGE ART/WEBSITE PROJECT
GRANTS ||| COLLECTIONS ||| TOP
‘Slave Bless Cover’, Slave Publications, Melbourne, 2004, p.18
'Moon Fever Hits Inglewood' (with Kathryn McCool), Antic 8, 1990, pp.50-51.
'Karate Kid 4', Agenda 43 1995, p.38.
'Surgeon General's Warning...', Midwest 4, 1994 (cover).
'Art Academy 5', Artfan, Summer 1996-7, p.38.
'Super Stormy Saves the Art World', Teststrip Micrograph No.6, December 1995, (24 pages).
'Super Stormy, the Wonder Years! OR, from Harrie Hates to Super Stormy', Monica No.5, Summer 1997, pp.36-37.
'How NASA Mooned the Avant-Garde', Photofile No.49, November 1996, pp 6-9.
WEBSITE PROJECT
1997 Alt.Ways of Seeing, Internet project, Artspace, Auckland, New Zealand
2002 Künstlerhaus Bethanien Studio Residency, Creative New Zealand, Arts Council of New Zealand Toi Aotearoa
1999 Greene Street Studio, New York, Australia Council for the Arts
1995 Fellowship grant, Creative New Zealand, Arts Council of New Zealand Toi Aotearoa
1991 Research grant, Queen Elizabeth II Arts Council of New Zealand
1990 Queen Elizabeth II Arts Council of New Zealand
Art Gallery of South Australia, Australia
Art Gallery of New South Wales, Australia
Art Gallery of Western Australia, Australia
National Gallery of Australia, Canberra, Australia
Queensland Art Gallery, Brisbane, Australia
Chartwell Collection, Auckland Art Gallery, New Zealand
Dunedin Public Art Gallery, Dunedin, New Zealand
Govett-Brewster Art Gallery, New Plymouth, New Zealand
Manawatu Art Gallery, Palmerston North, New Zealand
Auckland Art Gallery, Auckland, New Zealand
Museum of New Zealand - Te Papa Tongarewa, Wellington
MICHAEL STEVENSON
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