Selected Essays

Manifest Opulence’ [Frieze Art Fair], London Review of Books, blog, 18 October 2013:

Elite Art in an Age of Populism’, in Alexander Dumbadze/ Suzanne Hudson, eds., Contemporary Art: 1989 to the Present, John Wiley & Sons, Oxford 2013, pp. 39-49. Korean translation: Visual (Korea National University of Arts, Seoul), vol. 9, 2012, pp. 39-69.

Are You a Photographer?’, Photoworks website, published 1 July 2013:

Atrocity in Public Relations’, Huffington Post, published 19 June 2013:

‘Rhetoric of the Image’ [review of Paul O’Neill, The Culture of Curating and the Curating of Culture(s), Cambridge, MA: MIT Press, 2012/ Terry Smith, Thinking Contemporary Curating, New York: Independent Curators International, 2012], Artforum, March 2013, pp. 71-2.

Radical Camouflage at Documenta 13’, New Left Review, new series, no. 77, September/ October 2012, pp. 123-33.

‘Rather a Hawk? The Photography of Larry Burrows’, in Kate Bush, ed., Everything Was Moving: Photography from the 60s and 70s, Barbican Art Gallery, London 2012, pp. 234-5.

‘Sympathy for the Devil: Julian Stallabrass Interviews Sylvia Kolbowksi’, Lalit Kala Contemporary (New Delhi), no. 54, 2012, pp. 70-4.

‘A Sad Reflection on the Art World’, The Art Newspaper, no. 241, December 2012, p. 41.

Contribution to ‘Keywords on Art’, Public Art (Seoul), vol. 73, October 2012, p. 76.

Visages et façades: images riches et images pauvres dans l’oeuvre de Roland Fishcher’, in Saarland Museum, Roland Fischer: New Photography, 1984-2012, Das Wunderhorn, Heidelberg 2012, supplement, pp. 15-17. Text also in German.

Hatred of Photography’ [review of Out of Focus, Saatchi Gallery], Bazaar Art (Beijing), September 2012, pp. 72-3.

Digital Partisans’, New Left Review, new series, no. 74, March/ April 2011, pp. 125-39.
'Frozen Dialectics in the Work of Haegue Yang', Aspen Art Museum/ Modern Art Oxford, Haegue Yang: Wild Against Gravity, Oxford/ Aspen, CO 2011, pp. 93-111.

A Conversation with Trevor Paglen’, October, 138, Fall 2011, pp. 3–14.

Shadow and Scale in the KYOPO Project’, in CYJO, KYOPO, Umbrage Editions, New York 2011.

On My Mind’ [Van Bao, The Aftermath of a B-52 Strike on the Suburbs of Hai Phong, 1972], Foam: International Photography Magazine, no. 31, Summer 2012, p. 10.

Distinction and Scepticism: Kiefer at White Cube’, Bazaar Art (Beijing), March 2012.

Battle of the Brands’ [Kusama at Tate Modern, Bazaar Art (Beijing), April 2012.

Un art radical?/ Radical Art?’, Espace Sculpture (Montreal), no. 99, Spring 2012.

The Hockney Industry’, New Left Review, no. 73, January/ February 2012.

Death of a Salesman’ [Lucian Freud], Bazaar Art (Beijing), September 2011.

Contribution to ‘The Anxiety of Images’, Aperture, no. 204, Fall 2011, p. 69.

Mandatory Music’, in Song-Ming Ang/ Kim Cascone, eds., The Book of Guilty Pleasures, 3rd Singapore Biennial, Singapore 2011.

The Hollow Triumph of Contemporary Art’, The Art Newspaper Magazine, June 2011, pp. 7-8.

Eugenie Dolberg’s Open Shutters Iraq’, Aperture, no. 203, Summer 2011, pp. 74-6.

 ‘Short Cuts’ [The End of Kodachrome], London Review of Books, vol. 33, no. 3, 3 February 2011, p. 18. Illustrated version published in Journal #3, vol. 1, issue 2, 2011, pp. 70-4.

Thrown Down’, Hotshoe: Contemporary Photography, no. 169, December 2010-January 2011, pp. 40-9.

Stem Cell Technology’ [Hockney’s iPad pictures], Times Higher Education, no. 1976, 2-8 December 2010, pp. 45-6.

 ‘Andy Freeberg: Art Fairs’, Photoworks, Autumn/ Winter 2010-11, pp. 4-5.

Brand Identity’, [review of Isabelle Graw, High Price: Art Between the Market and Celebrity Culture, Sternberg Press, Berlin 2009], Artforum, Summer 2010, pp. 79-80.

In conversation with Malcolm Bull, ‘Money and Attention on the Global Art Scene’, Immediations: the Courtauld of Art Journal of Postgraduate Research, vo. 2, no. 3, 2010, pp. 105-12.

Bureaucracy and Crime: Photography at Guantanamo’, in Edmund Clark, Guantanamo: If the Light Goes Out, Dewi Lewis Publishing, Stockport 2010, n.p.

Museum Photography and Museum Prose’, New Left Review, no. 65, September-October 2010, pp. 93-125.

Can Art History Digest Net Art?’, in Dieter Daniels / Gunther Reisinger, eds., Netpioneers 1.0 - Contextualising Early Net-based Art, Sternberg Press, Berlin, 2009, pp. 165-79.

 ‘The Fracturing of Globalisation’, in Jelle Bouwhis/ Ingrid Commandeur/ Gijs Frieling/ Domenik Ruyters/ Margit Schavemaker/ Christel Vesters, eds., Now is the Time: Art and Theory in the 21st Century, NAi Publishers, Rotterdam 2009, pp. 63-74. An updated version was published in Modern Art (Taipei), no. 152, October 2010, pp. 4-15. 

Obama on Flickr’, Journal of Visual Culture, vol. 8, no. 2, August 2009, pp. 196-201.

 ‘Good-bye to All That’, Spike Art Quarterly (Vienna/ Berlin), no. 15, 2008, pp. 94-98.

 ‘Performing Torture’, preface to Regina José Galindo, Confesión, Palma de Mallorca.

Preface to Philip Jones Griffiths, Recollections, Trolley, London 2008, n.p.

Conservatism and Class Difference in Twentieth-Century British Art’, in Chris Stephens, ed., The History of British Art, 1870-Now, Tate Britain/ Yale Center for British Art/ Tate Publishing, London 2008, pp. 120-51. ]

Rearranging Corpses, Curatorially’, Photoworks, October-April 2008-9, pp. 4-9.

The Power and Impotence of Images’, in Memory of Fire: The War of Images and Images of War, Photoworks/ Brighton Photo Biennial, Brighton 2008, pp. 4-9.

The Politics of the Political Catalogue Essay’, in Villa Lituania: Nomeda & Gediminas Urbonas, Lithuanian Pavilion, 52nd International Art Exhibition, La Biennale di Venezia, Sternberg Press, Berlin 2008, pp. 68-78.

 ‘Broomberg and Chanarin, Fig.’ in Adam Broomberg and Oliver Chanarin, Fig., Photoworks/ Steidl, Brighton/ Göttingen 2007, n.p.

What’s in a Face? Blankness and Significance in Contemporary Art Photography’, October, no. 122, Fall 2007, pp. 71-90.

'Spectacle and Terror', New Left Review, new series, no. 37, January-February 2006, pp. 87-106.

'Fetishism, Youth and Violence in the Work of Tom Sachs', Astrup Fearnley Musset for Moderne Kunst, Tom Sachs: Survey. America-Modernism-Fashion, Oslo 2006 pp. 11-23.

'Reasons to Hate Thomson and Craighead', in Steven Bode / Nina Ernst, eds., Thomson and Craighead, Film and Video Umbrella, London 2005.

'Types and Prospects of Radical Art', Australian and New Zealand Journal of Art, vol. 4, no. 2, vol. 5, no. 1, 2003-4, pp. 189-201.

'The Aesthetics of Net.Art', Qui Parle, vol. 14, no. 1, Fall/ Winter 2003, 2004, pp. 49-72.

'A View from the Fish Tank', in Nikolaj, Copenhagen Contemporary Art Center, Black Shoals Stock Market Planetarium: An Art Project by Lise Autogena and Joshua Portway, Copenhagen 2004, n.p.

'Computer Fictions', Prospect, no. 84, March 2003, pp. 28-33; republished in the Financial Review (Australia) as 'At Play in the Virtual World', 29 May 2003.

'Simon Norfolk', in The Photographers' Gallery, Citibank Photography Prize 2003, London 2003, pp. 45-6.

'Free Trade/ Free Art', in Neil Cummings/ Marysia Lewandowska, Free Trade, Manchester Art Gallery, Manchester 2003, pp. 34-40.

'The Fate of "Young British Art', in Jürgen Bock, ed., From Work to Text: Dialogues on Practise and Criticism in Contemporary Art, Fundaçaõ Centro Cultural de Belém, Lisbon 2002, pp. 149-52.

Contribution to 100 Reviews Backwards, ed. Matthew Arnatt/ Matthew Collings/ Cornelia Grassi, Alberta Press, London 2002, pp. 18-23.

'Rehearsal of Memory', in Claire Doherty, ed., Factor 1995, FACT, Liverpool 2002, n.p.

'Shop Until You Stop', in Schirn Kunstalle Frankfurt/ Tate Liverpool, Shopping: A Century of Art and Consumer Culture, ed. Christoph Grunenberg/ Max Hollein, Hatje Cantz Publishers, Ostfildern-Ruit 2002, pp. 222-30.

Introduction to 'Globalisation' section in Rasheed Araeen/ Sean Cubitt/ Ziauddin Sardar, The Third Text Reader on Art, Culture and Theory, Continuum, London 2002, pp. 277-9..

'Digital Commons', New Left Review, no. 15, May/June 2002, pp. 141-6.

'Michelangelo Pistoletto' [interview], Tate, no. 25, Summer 2001, pp. 42-9.

'Other Britannias', catalogue essay in Centre Cultural Tecla Sala, La Otra Britània, Barcelona 2001, pp. 8-9.

'A Production Line of Destruction': Parts of a Conversation between Michael Landy and Julian Stallabrass', in Artangel, Michael Landy / Breakdown, London 2001, pp. 107-16.

'The Ideal City and the Virtual Hive: Modernism and Emergent Order in Computer Culture', in John Downey and Jim McGuigan, eds., Technocities: The Culture and Political Economy of the Digital Revolution, Sage Publishers, London 1999, 108-20.

'The Decline and Fall of Art Criticism', Magazyn Sztuki (Gdansk), no. 18, 1998, pp. 85-92.

'Formas de la identitad en el ciberespacio' [Being Yourself in Cyberspace], Revista de Occidente, no. 206, June 1998, pp. 77-97: issue on the digital revolution. Text in here.

'High Art Lite at the Royal Academy' [review of Sensation], Third Text, no. 42, Spring 1998, pp. 79-84.

'Vampires and Peacocks' Tails', in Beaconsfield/ AMPCOM, Between the Devil and the Deep (Blue) Sea, London/ Helsinki 1997, n.p. Exhibition catalogue with the work of Beaconsfield, Stuart Brisley, Robert Ellis, Tracey Emin, Bruce Gilchrist, Hayley Newman and Mark Wallinger.

'Sebastião Salgado and Fine Art Photojournalism', New Left Review, no. 223, May-June 1997, pp. 131-160.

'The Dead, Our Dead. Murals and Banners of the Zapatistas', Third Text, no. 38, Spring 1997, pp. 55-64.

'Artist-Curators and the New British Art', Art & Design, vol. 12, nos. 1-2, January-February 1997, pp. 78-81.

'In and Out of Love with Damien Hirst', New Left Review, no. 216, March-April 1996, pp. 153-60.

'On the Margins' (an edited version of a catalogue essay for the exhibition Candyman II), Art Monthly, no. 182, December 1994-January 1995, pp. 3-6.

'Success and Failure of Peter Fuller', New Left Review, no. 207, September-October 1994, pp. 87-102.

'Just Gaming: Allegory and Economy in Computer Games', New Left Review, no. 198, March-April 1993, pp. 83-106.

'Gerhard Richter. Pintura y medios de comunicación' [Gerhard Richter: Painting and Mass Media], Kalías (Valencia), no. 8, Semestre II, 1992, pp. 102-108.

'The Mother and Child Theme in the Work of Henry Moore', catalogue essay for the touring exhibition Henry Moore. Mutter und Kind/ Mother and Child (shown at the Käthe Kollwitz Museum, Cologne; Schloss Cappenberg, Kreis Unna; Kunstkreis, Norden; the Ernst Barlach Museum, Ratzeburg and Huddersfield Art Gallery) Henry Moore Foundation, Much Hadham 1992, pp. 13-39.

'Autographs and Images. Snapshots of Prague and Berlin', New Left Review, no. 190, November-December 1991, pp. 83-9.

'The Idea of the Primitive. British Art and Anthropology 1918-1930', New Left Review, no. 183, September-October 1990, pp. 95-115.

'Iluna gordelekuan/ Oscuridad en el refugio', catalogue essay published in Spanish and Basque for the Museo de Bellas Artes de Bilbao, Henry Moore, 1990, pp. 19-43, 161-78.

Selected Shorter Essays and Reviews

 ‘Good-bye to All That’, Spike Art Quarterly (Vienna/ Berlin), no. 15, 2008, pp. 94-98.

The Ideal of Art Criticism’, assessment in James Elkins, ed., The State of Art Criticism, Routledge, New York 2008, pp. 334-5.

Reply to questionnaire about reactions to the war, October, 123, Winter 2008, pp. 161-3.

‘Inherent Vice’, Tate Papers, no. 8, Autumn 2007:

‘Truth or Dare’ [the political turn in contemporary British art], FT Magazine, December 2/3 2006, pp. 34-5.

Economics Alone do not Explain Painting’s Revival’, The Art Newspaper, no. 159, June 2005, p. 35.

'Not in Our Name' [original title: 'Iraq seen through the lens of Vietnam'], Art Monthly, no. 293, February 2006, pp. 1-4.

Review of Guy Tillim: Leopold and Mobutu (Photographers' Gallery, London), Photoworks, Autumn/ Winter 2005-06, pp. 32-5.

'Economics Alone do not Explain Painting's Revival', The Art Newspaper, no. 159, June 2005, p. 35.

'Partying' [review of Jonathan Harris, Art, Money, Parties: New Institutions in the Political Economy of the Arts, Liverpool University Press, Liverpool 2004], Art Monthly, no. 286, May 2005, pp. 1-4.

'Literally No Place by Liam Gillick', Bookworks website, June 2003

'Pretty Pictures in a Show Without Focus' [Wolfgang Tillmans at Tate Britain], Evening Standard, 9 June 2003.

'Take a Reality Check' [Witness: Contemporary Artists Document Our Time, Barbican], Evening Standard, 4 March 2003, p. 41.

'Thomson and Craighead', January 2003:

'An Artist After Break Down' [Michael Landy, Nourishment, Interim Art], Evening Standard, 17 December 2002.

'Making a Show of Herself' [Tracey Emin at Modern Art Oxford], Evening Standard, 13 November 2002, p. 47.

'The Big Issue…' [Anish Kapoor's Marsyas, Tate Modern], Evening Standard, 10 October 2002, p. 53.

'Elements of Drawing Blind',, vol. 5, issue 1, 2002

'David Shrigley', Eye, vol. 11, no. 44, Summer 2002, pp. 78-9.

'Thinking of England' [review of Martin Parr at the Barbican Art Gallery], New Statesman, 18 February 2002, pp. 38-9. 

'The Image and Substance of Che', DPICT, no. 7, April/ May 2001, pp. 38-41.

'Symbols of Success' [Chris Evans' UK Corporate Sculpture Consultancy], New Statesman, 18 December 2000, pp. 45-6.

'Bjorn Again' [reviews of 'Vision and Reality' and 'Organising Freedom', Moderna Museet, Stockholm], New Statesman, 20 November 2000, p. 43.

'Collector's Pieces' [Jim Shaw's Thrift Store Paintings, ICA], New Statesman, 16 October 2000, pp. 42-3.

'Token Images: A User's Guide' [review of Marc Quinn, Incarnate, Booth-Clibborn Editions, London 1998, and Jonathan Barnbrook and Jason Beard (designers), Young British Art: The Saatchi Decade, Booth-Clibborn Editions, London 1999], Third Text, no. 52, Autumn 2000, pp. 91-4.

'Conventionally Unconventional', Art Monthly, no. 240, October 2000, p. 48.

'Cashing In' [Protest and Survive, Whitechapel Gallery], New Statesman, 2 October 2000, pp. 44-5.

'Clever Clogs' [Intelligence, Tate Britain], New Statesman, 18 September 2000, pp. 47-8.

'Looking at the New' [The British Art Show 5], RA Magazine, no. 68, Autumn 2000, p. 27.

'The Borders of Art', in Ruskin School of Drawing and Fine Art Degree Show, catalogue, Oxford 2000.

Review of James Hall, The World as Sculpture: The Changing Status of Sculpture from the Renaissance to the Present Day, Tate, no. 19, Winter 1999, pp. 72-3.

Review of Tomoko Takahashi, Beaconsfield, London, AN Visual Arts, February 1998, p. 17.

Review of Jean-Pierre Montier, Henri Cartier-Bresson and the Artless Art, The Burlington Magazine, vol. cxxxix, no. 1135, October 1997, pp. 705-6.

'Phoney War', Art Monthly, no. 206, May 1997, pp. 15-16. John Roberts replied to this article in a letter in no. 207, June 1997, pp. 14-16, and I replied to that in no. 208, July 1997, p. 19-20. [click here for the reply]

Review of Calvin Tomkins, Duchamp: A Biography, Literary Review, March 1997, pp. 29-30.

'Media Art in a Modernist Climate' [on the Finnish contemporary art scene], Art Monthly, no. 202, December 1996-January 1997, p. 50. 

'Cold Eye' [review of Pierre Bourdieu, Photography: A Middle Brow Art], New Left Review, no. 220, November-December 1996, pp. 147-52.

'Paul Graham' [review of book by Andrew Wilson, Gillian Wearing and Carol Squiers], Art Monthly, no. 201, November 1996, pp. 50-1.

'Animal Voices' [review of Scott Bradfield, Animal Planet, London 1996], The Crying Wolf, no. 1, Summer 1996, p. 30.

'Faithful Servant' [review of Stuart Morgan, What the Butler Saw, London 1996], Art Monthly, no. 197, June 1996, p. 48.

'London, Spellbound' [review of the Hayward Gallery exhibition], The Burlington Magazine, vol. cxxxviii, no. 1118, May 1996, pp. 342-3.

'Art and Power' [feature on the Hayward exhibition], Art Monthly, no. 192, December 1995-January 1996, pp. 3-5.

'Fotofeis', Art Monthly, no. 191, November 1995, pp. 23-25.

'The Iron Cage of Boredom' [Andreas Gursky at the Tate Gallery, Liverpool], Art Monthly, no. 189, September 1995, pp. 16-20. 

'Olivier Richon, Zone Gallery, Newcastle/ Matthias Wähner, Portfolio Gallery, Edinburgh', Art Monthly, no. 188, July-August 1995, pp. 29-30.

'Authentic Fakes' [review of photography by Cindy Bernard and John Kippin], Art Monthly, no. 187, June 1995, pp. 12-15.

'London, Serpentine Gallery: Man Ray', The Burlington Magazine, vol. cxxxvii, no. 1105, April 1995, pp. 261-2.

'Discrete Images' (review of exhibition at the Frith Street Gallery), Art Monthly, no. 181, November 1994, pp. 35-6.

'The Epic of the Everyday' (essay on photography as art based around exhibitions at the Barbican and the Hayward), Art Monthly, no. 179, September 1994, pp. 8-11.

Review of Beyond Belief at the Lisson Gallery and other shows involving photography, Art Monthly, no. 177, June 1994, pp. 29-30.

Review of Visions of the Modern by John Golding, The Guardian, 12th April 1994, p. 10.

'Alain Kirili', Art Monthly, no. 174, March 1994, pp. 27-8.

'Rigid Digits' (William Latham and computer art), Art Monthly, no. 173, February 1994, pp. 14-16.

'The Flesh is Weak' (review of Elective Affinities at the Tate Gallery, Liverpool and Bad Girls at the I.C.A.), Art Monthly, no. 172, December 1993-January 1994, pp. 27-9.

'The Meeting of Life and Art: Ben Nicholson', Apollo, vol. cxxxix, no. 382, December 1993, p. 406.

'Renegotiations: Class, Modernity and Photography', Art Monthly, no. 166, May 1993, pp. 21-2. Letters criticising this article were published in July-August issue along with my reply (no. 168, pp. 36-8). [click here for the reply]

'Power to the People' (review of work by Judith Cowan, Andrea Fisher & Gillian Wearing), Art Monthly, no. 165, April 1993, pp. 15-17. Criticisms of this article were published in the next issue (no. 166, May 1993) by Michael Archer (pp. 14-16) and Andrew Wilson (p. 31). My reply to their comments was published in no. 167, (June 1993) pp. 28-9. [click here for the reply]

'Young British Artists II' (review of Rose Finn-Kelcey, Sarah Lucas, Marc Quinn and Mark Wallinger at the Saatchi Collection), Art Monthly, no. 164, March 1993, pp. 19-20.

'Lea Andrews' (exhibition at Camerawork), Art Monthly, no. 163, February 1993, pp. 24-5.

'Painting Desert Storm' (review of the John Keane exhibition at the Imperial War Museum), New Left Review, no. 195, September-October 1992, pp. 102-9.

'Kazimir Malevich. The Climax of Disclosure by Rainer Crone and David Moos', Art History, vol. 15, no. 3, September 1992, p. 394.

'Max Ernst' (book reviews), Art Monthly, no. 151, November 1991, pp. 27-8.

'John Stezaker' (Salama-Caro Gallery), Art Monthly, no. 144, March 1991, p. 18.

'On Classic Ground: Picasso, Léger, De Chirico and the New Classicism' (review of the Tate Gallery exhibition), Art Monthly, no. 138, July-August 1990, p. 23.

'London, Hayward Gallery, Magnum Photographers', The Burlington Magazine, vol. cxxxii, no. 1046, May 1990, pp. 371-2.

Review of Martin Parr, The Cost of Living (The Photographers' Gallery, London), Art Monthly, no. 135, April 1990, p. 19.

Review of Kenneth E. Silver, Esprit de Corps: The Art of the Parisian Avant-garde and the First World War, 1914-1925 (Thames and Hudson, London 1989), Art Monthly, no. 134, March 1990, pp. 27-8.

'Bradford: The Kodak Museum', The Burlington Magazine, vol. cxxxii, no. 1038, September 1989, pp. 666-7.

'Photography in the Weimar Republic' (review of exhibition at the Goethe Institute), Art Monthly, no. 128, July-August 1989, pp. 15-16.



Vid Simoniti, ‘The Underlying Term is Democracy: An Interview with Julian Stallabrass’, Postgraduate Journal of Aesthetics,Vol. 7, No. 3, December 2010

Julian Stallabrass and Ashley Gilbertson in Conversation,’ Journal of Visual Culture, 2009

 ‘War, Photojournalism and Art Photography: An Interview with Adam Broomberg and Oliver Chanarin’, The Myth of Europa, May 2009, pp. 13-15.

 ‘Curated Content: An Interview with Julian Stallabrass’, in University Gallery, Socially Active, University of Essex, Colchester 2009, insert. This is a slightly different and extended version to the one published.

 ‘Interview: Philip Jones Griffiths’, Photoworks, Autumn-Winter 2007-8, pp. 18-23.

 ‘Interview: Gilane Tawadros: Brighton Photo Biennial’, Photoworks, Autumn/ Winter 2006/7, pp. 18-23.

Interview with Alix Rule for the Saatchi Gallery website 

Discussion with Rob Stone on encountering the work of art for the Eyestorm website, 2000.

Artnet, with Ana Finel Honigman:

3AM Magazine: 2004/may/interview_julian_stallabrass.html

Against the Grain, with Sasha Lilley

Interview on art and the Internet, (August 2002)