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ARTISTS EXHIBITIONS
Stevenson

Biography

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1964

Born Inglewood, New Zealand.

Lives Berlin, Germany. (Since 2000)

EDUCATION

1984-1986 - Elam School of Fine Arts Auckland, New Zealand.

SOLO EXHIBITIONS

2017

Serene Velocity in Practice: MC510/CS183Auckland Art Gallery, New Zealand

Inside the Keep Out Shed, Michael Lett, Auckland, New Zealand

2016

Signs & Wonders, Midway Contemporary Art, Minneapolis, Minnesota, USA

Signs & Wonders, Carl Freedman Gallery, London, UK

2015

Signs & Wonders, Kunsthal Charlottenborg, Denmark

The Fountain of Prosperity, SculptureCenter, New York

2013

Proof of the Devil, Michael Lett Gallery, Auckland, New Zealand

2012

A Life of Crudity, Vulgarity, and Blindness, Portikus, Frankfurt, Germany

2011

Michael Stevenson, Museum of Contemporary Art, Sydney

2009

Snow Melts in the Upper Clutha, Hamish McKay Gallery, Wellington, New Zealand

2008

Persepolis 2530 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 Regional Gallery, 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, San Francisco (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

 

GROUP EXHIBITIONS

2018

Superposition, 21st Biennale of Sydney, Carriageworks, Sydney

This is New Zealand, City Gallery, Wellington, Te Whare Toi, Wellington, New Zealand

Good Manners, Darren Knight Gallery, Sydney

2017

Primordial Saber Tararear Proverbiales Sílabas Tonificantes Para Sublevar Tecnocracias Pero Seguir Tenazmente Produciendo Sociedades Tántricas – Pedro Salazar Torres (Partido Socialista Trabajador), Regen Projects, Los Angeles, USA

2015

Writing Art, Artspace, Sydney

2014

8th Berlin Biennale for Contemporary Art, curated by Juan A. Gaitan

8th Liverpool Biennial - A Needle Walks into a Haystack, curated by Mai Abu El Dahab and Anthony Huberman.

2013

Drunk vs Stoned III, Neon Parc, Melbourne

Living in the ruins of the Twentieth Century, UTS Gallery, Sydney

2012

This is what I do, Curated by Wes Hill, CAST, Hobart, Tasmania

First Act, Museo Tamayo, Mexico City, Mexico

Test Pattern, Curated by Geoff Newton, Margaret Lawrence Gallery, Melbourne

2011

Never the same river (possible futures, probable pasts), Camden Arts Centre, Ireland

This is what I do, Metro Arts Galleries, Brisbane

2010

Last Ride in a Hot Air Balloon, the 4th Auckland Triennial, Auckland Art Gallery Toi o Tamaki, Auckland, New ZealandUnnerved: The New Zealand Project, Gallery of Modern Art, Brisbane, Australia

6th Berlin Biennale for Contemporary Art, Haus der Kunst, Berlin, Germany
Morality: Act XI: Remember Humanity, Witte de With, Centre for Contemporary Art, Rotterdam
There is No Alternative, Konst Hall C and Romanian Cultural Institute, Sweden
Ou la Vie Saisie par l'Art, CAPC Musee d'art contemporain de Bordeaux, Bordeaux
La Ciudad Interpretada/The City Interpreted, Public Art Project, curated by Pablo Fanego, Santiago de Compestella

2009

The Same River Twice, Institute of Modern Art, Brisbane, Australia

2008

Smashed to pieces (in the still of the night), Gambia Castle, Auckland, New Zealand

The Sweet Burnt Smell of HistoryPANAMA ART BIENNIAL 8, Museum of Contemporary Art, Panama City, curator Magali Arriola

Not Quite How I Remember ItTHE POWER PLANT, Toronto, Canada, curator Helena Reckitt

Master Humphrey's Clock (a project by de APPEL CURATORIAL PROGRAMME), Leidsche Rijn, Utrecht, the Netherlands

2007

The Irresistible Force, Tate Modern, London, England

Wiedereröffnung des Museum AbteibergSTÄDTISCHES MUSEUM ABTEIBERG, Mönchengladbach, curator Susanne Titz

Reboot – The Jim Barr & Mary Barr CollectionCHRISTCHURCH ART GALLERY, New Zealand
Design by AccidentCROY NIELSEN, Berlin, Germany

2006

Asia-Pacific Triennial of Contemporary Art Queensland Art Gallery, Queensland Gallery of Modern Art

Abgebrannt, BERLINISCHE GALERIE, Berlin, Germany

2005-2006

Ian Fairweather Lismore Regional Gallery, NSW Australia

2005

Small world big town – contemporary art from Te Papa City Gallery Wellington, New Zealand

Saltuna, Rooseum, Malmo, Sweden

Monuments for the USA, Wattis Institute of Contemporary Arts, CCA, San Francisco, White Columns, New York, USA

2004

Berlin North, Hamburger Bahnhof, Berlin, Germany

Black Friday, Gallerie Kamm, Berlin, Germany

Kurzdavordanach, Photography Collection, SK Stiftung Kultur, Cologne, 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 Tamaki, Auckland, New Zealand

(with Mikala Dwyer & Ronnie van Hout), Hamish McKay Gallery, Wellington, New Zealand

Korrekturen, Gallerie Kamm, Berlin, Germany

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

Profiler, Kunstlerhaus Bethanien, Berlin, Germany & Govett-Brewster Art Gallery, New Plymouth, New Zealand

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

Circles ∞3, Zentrum fur Kunst and Medientechnologie, Karlsruhe, Germany

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

Slave Pianos is a collaborative art and music project with Michael Stevenson, Danius Kesminas, Neil Kelly and Rohan Drape

PAGE ART

Introduccion a la Teoria de la Probilidad, Australian and New Zealand Journal of Art, Vol.9, No.1/2, 2008/9. p.48

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

AWARDS, RESIDENCIES AND GRANTS

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 

COLLECTIONS

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

BIBLIOGRAPHY

Amery, M, Postcards, Artnews New Zealand, Autumn 2018, pp.52-55

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

Chapman, C. The invisible is real, Hangover, exhibition catalogue, Dunedin Public Art Gallery etc, 1995

Conland, N. Last Ride in a Hot Air Balloon, the 4th Auckland Triennial, Auckland Art Gallery Toi o Tamaki, Auckland, New Zealand, 2010

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 Award 1997, 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

Craswell, P. Michael Stevenson, Art World, Issue 9, June/July 2009.

Cuenca Carrara, C, de la Carza, M, Hirsch, N, von Olfers, S, Michael Stevenson – An Introduction, Museo Tamayo, Arte Contemporaneo, Ciudad de Mexico, Portikus, Frankfurt am Main, Germany, Verlag der Buchhandlung Walther Konig, Koln,Germany, 2013

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

Ed. Curator’s Picks: Venice Biennale Director’s Raph Rugoff Selects 5 Standout Works at the Sydney Biennale, Artnet News, 27 March 2018. https://news.artnet.com/exhibitions/5-standout-works-sydney-biennale-ralph-rugoff-1254323

Ed.  The Interpreted City in e-flux, 18 September 2010, http://www.e-flux.com/shows/view/8594

Ed. Michael Stevenson, Mind Food, May 2011, p.124

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

Ewington, J, Floating and flouting the national: Two museums in windy Wellington, Art Monthly Australasia, Issue 308, June/July 2018, pp.43-47

Fitzgerald, M. Remastering the record Time Magazine, 29 August 2005

Fitzgerald, M. Driving out Demons in Time Australia, June 30 2003, p. 56-58

Frizzell, D. It’s all about the image, Auckland: Random House, 2011, pp.154-155

Gardiner, S. The meaning of molecules, Art News New Zealand, Winter 2018. pp.92-94

Grayson, R. Biennale of Sydney 2002, ‘The world may be fantastic’, Exhibition Guide

Gardiner, S. The meaning of molecules, Art News New Zealand, Winter 2018. pp.92-94

Gardiner, S. New Zealand: The Watlers Prize 2002, Art Monthly, no. 153, September 2002

Gardner, A. The Same River Twice, Art and Australia, Vol 46, No.2, 2009

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

Haq, N. Michael Stevenson interviewed by Nav Haq in Bidouin Magazine, http://www.bidoun.org/magazine/18-interviews/michael-stevenson-interviewed-by-nav-haq/, accessed 02/09/2011

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 BiennaleKünstlerhaus Bethanien, 2003

Hill, W. Double fantasy - The artful practice of Michael Stevenson, Art & Australia, Vol. 46 No. 3, Autumn 2009, pp. 464 - 471

Hill, W. Double fantasy - The artful practice of Michael Stevenson, Art Matters, MCA Ambassadors and Members Magazine, Autumn, 2011

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

Hurrell, J, Self Broadcasting as Community Television, Eye Contact, 14 September 2011,http://eyecontactsite.com/2011/09/self-broadcasting-as-community-television

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

Jasper, A. Michael Stevenson: Signs and Wonders, exhibition catalogue, Kunsthal Charlottenborg, Denmark, 2016

Jasper, A. Fact & Fictions, Frieze magazine, October 2011

Keehan, R, Michael Stevenson, Museum of Contemporary Art, review, Art Forum, January 2011. p.113

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. Biennale of Sydney 2018 Review: John McDonald on a failure of imagination, Sydney Morning Herald, 30 March 2018

https://www.smh.com.au/entertainment/art-and-design/biennale-of-sydney-2018-review-john-mcdonald-on-a-failure-of-imagination-20180326-h0xymq.html

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

Newton, G. Test Pattern, exhibition catalogue, Margaret Lawrence Gallery, Melbourne

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

Parlane, A and King, N. A conversation with Michael Stevenson, Ocular Magazine, 30 April 2018. https://ocula.com/magazine/conversations/michael-stevenson/

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

Rochart, J. Fun Palace, October 12-31, Centre Pompidou, in Sang Bleu, 21 October 2010, http://sangbleu.com/2010/10/21/fun-palace-october-21-31-centre-pompidou/

Roelants, A. Narrative Journeys: Michael Stevenson at the MCA in Art Monthly Australia, November 211 #245, pp.46-47

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

Sorensen, R. ‘Nice Place’ the gothic calls home, The Australian, Friday 7 May 2010.

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 Project, Wattis  Institute of Contemporary Arts, CCA, San Francisco, USA, 2006

Stevenson, M. Art of the eighties and seventies Museum Abteiberg Mönchengladbach, 2006

Stevenson, M. Hydromechanical Analogue Research Archive (2002-) in Master Humphrey’s Clockwww.masterhumphreysclock.nl/html/Michael_Stevenson-EN.html

Teal, J, The Aspirations of Citizen Thiel, Artnews New Zealand, Autumn 2018, pp.7275

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

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