Born in Paisley, Scotland, 1963
Kingston Polytechnic, London, United Kingdom
Goldsmiths College, University of London, United Kingdom
Lives and works in San Diego, CA
Museum of Contemporary Art San Diego, CA
Silas Marder Gallery, Bridgehampton, NY
Lehmann Maupin, New York, NY
Blum & Poe, Los Angeles, CA
SNAP Art at the Aldeburgh Festival, Snape Maltings, UK
This much is true, Artpace, San Antonio, TX
Red on Green, Jupiter Artland, Edinburgh, Scotland
Highway, Annet Gelink, Amsterdam, The Netherlands
Where Is Where It’s At, Thomas Dane, London, United Kingdom
Four Galleries, Four Exhibitions, One Venue, Anya Gallaccio, 4x4, at the Bluecoat, Liverpool, United Kingdom
that open space within, Camden Arts Center, London, United Kingdom
Anya Gallaccio: Comfort and Conversation, Annet Gelink, Amsterdam, The Netherlands
Three Sheets To The Wind, Thomas Dane, London
Anya Gallaccio, Galeria Leme, São Paulo, Brazil
Anya Gallaccio: One Art, Sculpture Center, Queens, New York
Shadow on the Things You Know, Blum & Poe, Los Angeles, California
Silver Seed, Mount Stuart, Isle of Bute, Scotland (exh. cat.)
The Look of Things, Palazzo delle Papesse Centro Arte Contemporanea, Siena, Italy (exh. cat.)
Love is only a feeling, Lehmann Maupin Gallery, New York
Turner Prize Exhibition, Tate, London
Anya Gallaccio, Ikon Gallery, Birmingham, United Kingdom (exh. cat.)
Sometimes with one I love, Annet Gelink Gallery, Amsterdam, The Netherlands
Beat, Duveen Sculpture Commission, Tate Britain, London (exh. cat.)
Blessed, Lehmann Maupin Gallery, New York
now the leaves are falling fast, fig-1, London
Falling from Grace, Annet Gelink gallery, Amsterdam, The Netherlands
Falling from Grace, Projektraum, Kunstalle, Bern, Switzerland
All the rest is silence, Sadler's Wells, London
Glaschu, Tramway at Lanarkshire House, Glasgow, Scotland
Chasing Rainbows, Bloom Gallery, Amsterdam, The Netherlands (exh. cat.)
Two Sisters, Minerva Basin, Hull, United Kingdom
Chasing Rainbows, Delfina, London, United Kingdom
Blum & Poe, Los Angeles, California
Keep off the grass, Serpentine Gallery Lawn, London, United Kingdom
Art Pace, San Antonio, Texas
A Multiple, Ridinghouse Editions, London, United Kingdom
Absolute, Galerie Rodolphe Janssen, Brussels, Belgium
Harvest of the winter months, Galerie im KünstlerHaus, Bremen, Germany
Anya Gallaccio, Ars Futura Galerie, Zurich, Switzerland
Intensities and Surfaces, Wapping Pumping Station, London, United Kingdom (commissioned by Women’s Playhouse Trust)
Towards the Rrainbow, Angel Row Gallery, Nottingham, United Kingdom
Anya Gallaccio, Stephen Friedman, London, United Kingdom
Anya Gallaccio, Francesca Sorace, Florence, Italy (accompanied with a text by Saretto Cincinelli)
Stroke, Blum & Poe, Los Angeles, California
Couverture, Filiale, Basel, Switzerland
Stroke, Karsten Schubert Ltd, London, United Kingdom
La Dolce Vita, Stephania Miscetti, Rome, Italy
Brown on white, Galerie Krinzinger, Vienna, Austria (exh. cat.)
Anya Gallaccio, Ars Futura Galerie, Zurich, Switzerland
Anya Gallaccio, Kim Light Gallery, Los Angeles, California
Red on Green, ICA, London, United Kingdom
Anya Gallaccio, Karsten Schubert Ltd., London, United Kingdom
inSite: cuatro ensayos de lo públic, sobre otro scenario, La Tallera, Cuernavaca, Mexico
Phantoms in the Dirt, Museum of Contemporary Photography, Columbia College, Chicago, IL
Tipping Point, Wolverhampton Art Gallery, Wolverhampton, UK
Chasing Rainbows, Annet Gelink Gallery, Amsterdam, The Netherlands
Something about a Tree, FLAG Art Foundation, New York, NY
Green Acres: Artists Farming Fields, Green Houses and Abandoned Lots, Contemporary Art Center Cincinnati, Ohio (exh. cat.)
British Council Collection: Thresholds, Whitechapel Gallery, London, United Kingdom (selected by Michael Craig Martin)
On and On, La Casa Encendida, Madrid, Spain (curated by Olivier Varenne) (exh. cat.)
Presidio Habitats: A Site-Based Art Exhibition Celebrating Presidio Nature and Wildlife, San Francisco, California, organized by For-Site Foundation in partnership with Presidio Trust
Alpha &, On Stellar Rays, New York (curated by Jeffery Uslip)
Enel Contemporanea Award 2010, Macro Museum, Rome, Italy (invitation of Mami Kataoka) (exh. cat.)
The Drawing Room, The Bakery: Annet Gelink Gallery, Amsterdam, The Netherlands
Eating the Universe: Food in Art, Kunsthalle Düsseldorf; Kunstmuseum Stuttgart; Galerie im Taxispalais Innsbruck, Germany (exh. cat.)
On the Edge of the World, Gateway Gallery, Royal Botanic Gardens Edinburgh, Scotland (exh. cat.)
Buon Domani/A Better Tomorrow, Studio Stefania Miscetti, Rome, Italy
Objects of Delight: Personal Choices from the Arts Council Collection, QUAD, Derby, United Kingdom
Painting and Sculpture: Foundation for Contemporary Arts Benefit Exhibition, Lehmann Maupin Gallery, New York, New York
Wandering Position: Selections from the Insite Archive, Museum of Contemporary Art of the National University of Mexico, Mexico City
Passports: Great Early Buys from the British Council Collection, Whitechapel Gallery, London; PAC Padglione d'Art Contemporanea, Milan, Italy, selected by Michael Craig Martin (exh. cat.)
Pot Luck Food and Art, The New Art Gallery, Walsall, United Kingdom
Art in Public Places: the archive of the PADT, Henry Moore Institute, Leeds, United Kingdom (curated Stephen Feeke and Claire Sawyer) (exh. cat.)
15th Anniversary Inaugural Exhibition, Blum & Poe, Los Angeles, California
Radical Nature, Art and Architecture for a Changing Planet, Barbican Art Gallery, London Barbican Centre, London, United Kingdom; The East Ayrshire Museums in Scotland including the Dick Institute, The Baird Institute and Doon Vallery Museum, Kilmarnock (curated by Francesco Manicorda) (exh. cat.)
Remote Proximity: Nature in Contemporary Art, Kunst Museum Bonn, Germany (curated by Dr. Volker Adolphs) (exh. cat.)
The Walls Are Talking, Whitworth Art Gallery, University of Manchester, Manchester, United Kingdom
Living Flowers: Ikebana and Contemporary Art, Japanese American National Museum, Los Angeles, California (curated by Karen Higa) (exh. cat.)
Nature Interrupted, Chelsea Art Museum, New York, New York (curated by Elga Wimmer)
Red Wind, Blum & Poe, Los Angeles, California
Nina in Position, Artists Space, New York, New York (curated by Jeffrey Uslip) (exh. cat.)
Martian Museum of Terrestrial Art, Barbican Art Gallery, London, United Kingdom (curated by Francesco Manacorda) (exh. cat.)
Turner Prize: A Retrospective (touring exhibition), Tate Britain, London, United Kingdom; Moscow Museum of Modern Art, Moscow, Russia; Mori Art Museum, Tokyo, Japan Apres la pluie, Musée departmental d’art contemporain de Rochechouart, France (with: Jennifer Allora et Guillermo Calzadilla, Jordan Wolfson, Guillaume Leblon, Bojan Sarcevic, Renaud Auguste-Dormeuil, Michelangelo Pistoletto, Alighiero e Boetti, Luciano Fabro, Gilberto Zorio, Pier-Paolo Calzolari, Giovanni Anselmo and Thomas Ruff)
Chanel, Pushkin State Museum of Fine Arts, Moscow, Russia (exh. cat.)
Kim Light Gallery Early 90’s, Kim Light Lightbox, Los Angeles, California
Play, BEARSPACE, London, United Kingdom
Relationships: Contemporary Sculpture, York Art Gallery, York, United Kingdom
Sparkle then Fade, Tacoma Art Museum, Tacoma, Washington
The Flower of Life: an exhibition about art, love and nature, James Hyman Gallery, London, United Kingdom
Wood for the Trees and Falling Leaves, Gimpel Fils, London, United Kingdom
Core, Illuminate Productions, Union Works, London, United Kingdom (exh. cat.)
If It didn’t exist you’d have to invent it…A partial Showroom history, The Showroom, London, United Kingdom
Toutes Compositions Florales, Counter Gallery, London, United Kingdom
Too Much Love, Angles Gallery, Santa Monica, California
Sad Songs, University Galleries, Illinois State University, Illinois (exh. cat.)
Monuments for the USA, CCA Wattis Institute for Contemporary Arts, San Francisco, California, April 7-May 21, 2005; traveled to White Columns Gallery, New York, December 15, 2005-January 28, 2006. (exh. cat.)
Flowers observed, flowers transformed, Andy Warhol Museum, Pittsburg, Pennsylvania
Forest, Wolverampton Art Gallery, Wolverhampton, United Kingdom (exh. cat.)
Turning Points: 20th Century British Sculpture, Tehran Museum of Contemporary Art, Tehran, Iran (exh. cat.)
Von Pop bis Heute, Das Grosse Fressen – Kunsthalle Bielefeld, Bielefeld, Germany (exh. cat.)
Art of the Garden, Tate, London, United Kingdom (exh. cat.)
Domestic (Futility), New Art Centre, Wiltshire, United Kingdom
Lustwarande 04: Disorientation of Beauty, Tilburg, Netherlands
Rose c’est la vie – On Flowers in Contemporary Art, Te; Aviv Museum of Art, Tel Aviv, Israel
Arrangement; The Use of Flowers in Art, Rhodes + Mann, London, United Kingdom
Inaugural Group Show, Blum & Poe, Los Angeles, Califorina
FlowerPower, Norwich Castle Museum & Art Gallery; The Millennium Galleries, Sheffield, United Kingdom
Look & Feel, art landscape nature, De Verbeelding, Zeewolde, Holland (exh. cat.)
Micro/Macro: British Art 1996-2002, Mucsarnok Kunsthalle, Budapest, Hungary (exh. cat.)
Purloined Nature, Kawamura Memorial Museum of Art, Chiba, Japan (exh. cat.)
Urban Baroque, Plane Space, New York, New York
Caldic Collection in Boijmans Van Beuningen Museum, Rotterdam, Netherlands
Blast to Freeze: British Art in the 20th Century, Kunstmuseum Wolfsburg, Germany (curated by Henry Meyric Hughes + Gijs van Tuyl) (exh. cat.)
Different States, Spacex Gallery, Exeter, United Kingdom
Falling From Grace, Look & Feel, Art Landscape Nature, Pavillon de Verbeelding, Zeewolde, Holland (exh. cat.)
In Print, (A British Council touring exhibition of contemporary prints commissioned and published by the Paragon Press, traveled to The Art Pavilion Gallery, Belgrade; Yaroslavl Museum of Fine Arts, Urals Museum of the Youth at Yekaterinburg; Centre of Graphics and Printmaking and Akhmatova Museum and Novosibirsk Fine Art Gallery) (exh. cat.)
Words from the Arts Council Collection, (A National Touring Exhibition, traveled to City Museum & Art Gallery, Plymouth; Arts Centre, Aberystwyth; City Art Gallery, York; Gallery, Oldham, and The City Gallery, Leicester, United Kingdom) (selected by Isobel Johnstone and Fiona Bradley) (exh. cat.)
Multiplication, (A British Council touring exhibition of Artists’ Multiples, traveled to National Museum of Art, Bucharest; Muzeul de Arta, Brasov; Muzeul Brukenthal, Sibu, and then to venues in Croatia, Turkey, Russia, Estonia and Poland in 2003) (exh. cat.)
EGOFUGAL: Fugue from Ego for the Next Emergence, 7th International Istanbul Biennial, Istanbul, Turkey (curated by Yuko Hasegawa) (exh. cat.)
Pawel Althamer, Amden, Switzerland
en verder, Annet Gelink, Amsterdam, The Netherlands
arte y naturaleza: Marina Abramovic, Pilar AlbarracÌn, Gunilla Bandolin, Maurizio Cattelan, Anya Gallaccio, Sol Le Witt, Richard Nonas, Roxy Paine, Susana Solano. Montemedio, Arte Contemporaneo, Cadiz, Spain (exh. cat.)
Artline 5, Nature and Architecture, Borken, Germany, (curated by Jan Hoet) (exh. cat.)
FIELD DAY, sculpture from Britain, Taipei Fine Arts Museum, Taiwan (exh. cat.)
Anableps, Studio Stephania Miscetti, Rome, Italy (exh. cat.)
Lemon Tree Hill, Asprey Jacques, London, United Kingdom
Art in the Park, Compton Verney, Warwickshire, United Kingdom (commission curated by Locus+)
The Greenhouse Effect, Serpentine Gallery, London, United Kingdom (curated by Lisa Corrin and Ralph Rugoff) (exh. cat.)
The Invisible Touch, The Kunstraum Innsbruck, Austria (curated by Maia Damianovic)
Natural Dependency, Jerwood Gallery, London, United Kingdom
Flower Show, Fruitmarket, Edinburgh, Scotland
Releasing Senses: Anya Gallaccio, Christian Marclay, Muraoka Saburo, Martin Walde, Opera City Art Gallery, Tokyo, Japan (curated by Mami Kataoka) (exh. cat.)
60s/ 90s Two Decades of Art and Culture, Towner Art Gallery and Museum, Eastbourne, East Sussex, United Kingdom
Viereck und Kosmos: Amdenener Rundang, Amden, Switzerland
Graphic! British Prints Now, Yale Center for British Art, New Haven, Connecticut
Do Paintings Dream of Veronese Green? Elga Wimmer, New York, New York (curated by Maia Damianovic)
Prime, Dundee Contemporary Arts, Dundee, Scotland (curated by Andrew Nairne and Katrina Brown)
Organic, Les Abattoirs, Toulouse, France
Thinking Aloud, National Touring Exhibitions, traveled to Kettle's Yard, Cambridge; Cornerhouse, Manchester and Camden Arts Centre, London, United Kingdom (curated by Richard Wentworth) (exh. cat.)
Here to stay: Arts Council Collection purchases of the 1990s, National Touring
Exhibitions, traveled to Plymouth Arts Centre, Aberystwyth Arts Centre, The Metropole Arts Centre, Folkestone, The Potteries Museum and Art Gallery, Stoke-on-Trent, Laing Art Gallery, Newcastle, and Turnpike Gallery, Leigh, United Kingdom (selected by Susan May) (exh. cat.)
Fifty years of Sculpture Works from the Arts Council Collection, Lothbury Gallery, London, United Kingdom
Still, Laurent Delaye Gallery, London, United Kingdom (curated by Jenefer Winters)
Les Capteurs de Reves, La Biennale de Montreal, Montreal, Quebec, Canada (curated by Claude Gosselin)
New Art from Britain, Kunstraum Innsbruck, Innsbruck, Austria (curated by Peter Murray) (exh. cat.)
Real Life: New British Art, Tochigi Prefectural Museum, Fukuoka Art Museum, Fukuoka, Japan (traveled to Hiroshima City Museum, Tokyo MOCA, Ashiya City Museum, Ashiya, Japan) (exh. cat.)
Interactive: An Exhibition of Contemporary British Sculpture, Amerada Hess, London, United Kingdom (exh. cat.)
Private Face/Urban Space, A new generation of artists from Britain, The Gasworks, Athens (curated by Katerina Gregos + Henry Meyric Hughes) (exh. cat.)
Pictura Britannica ART FROM BRITAIN, Museum of Contemporary Art, Sydney; Art Gallery of South Australia and Te Papa, Wellington, New Zealand (curated by Bernice Murphy) (exh. cat.)
Der Verlorene Garten, Kunsthalle Palazzo, Liestral, Switzerland (curated by Roman Kurmeyer) (exh. cat.)
Material Culture: The Object in British Art of the 1980s and '90s, Hayward Gallery, London, United Kingdom (curated by Michael Archer + Greg Hilty)
Projekte der Galerie im KunstlerHaus Bremen, (curated by Horst Griese) (exh. cat.)
The Pleasure of Aesthetic Life, The Showroom, London, United Kingdom (curated by Amikam Toren)
From Figure to Object: A Century of Sculptors' Drawings, Frith Street Gallery, London, United Kingdom and Karsten Schubert, London, United Kingdom (exh. cat.)
Private View: Contemporary British and German Artists, A New Collection for John and Josephine Bowes, The Bowes Museum, Barnard Castle, Durham, United Kingdom (curated by Penelope Curtis) (exh. cat.)
Time Wise, Swiss Institute, New York, New York
The British Art Show 4, (National Touring Exhibition: Castlefield Gallery, Manchester, United Kingdom; Royal Botanic Gardens, Edinburgh, Scotland: Cardiff) (exh. cat.)
Brilliant! New Art from London, Walker Arts Centre, Minneapolis, Minnesota; CAM, Houston, Texas
On Beauty, Regina Gallery, Moscow, Russia (curated by Dan Cameron) (exh. cat.)
Where you were even now, Kunsthalle Winterthur, Zurich, Switzerland (curated by Roman Kurzmeyer) (exh. cat.)
Chocolate! The Swiss Institute, New York, New York (exh. cat.)
Anya Gallaccio and Fortun O'Brien, Bloom Gallery, Amsterdam, Netherlands
Wit & Excess, Contemporary Arts Centre of South Australia, Parkside, Australia
Art Unlimited: Multiples from the 1960s and 1990s, National Touring Exhibitions (exh. cat.)
Le Shuttle, Künstlerhaus Bethanien, Berlin, Germany
Sarah Staton Supastore Boutique, Laure Genillard Gallery, London, United Kingdom
inSITE 94, (Chrematis) Aqua Caliente, Tijuana, Mexico, MOCA San Diego, California
Group Show: Gallery Artists, Karsten Schubert, London, United Kingdom
Choix de Bruxelles, Espace Jacqmotte, Brussels, Belgium
Domestic Violence, Gio Marconi, Milan, Italy (curated by Alison Jaques)
Punishment and Decoration, Hohenthal und Bergen, Cologne, Germany (curated by Michael Corris) (exh. cat.)
A Group Show: Keith Coventry, Peter Davis, Anya Gallaccio, Zebedee Jones, Bridget Riley, and Alison Wilding, Karsten Schubert, London, United Kingdom
Sarah Staton Supastore, Poster Studio, London, United Kingdom
Le Jardin de la Vierge, Musée Instumental, Brussels, Belgium
Mandy Loves Declan 100%, Mark Boote Gallery, New York, New York (exh. cat.)
Home Alone, with Angus Fairhurst, 85 Charlotte Street, London, United Kingdom
Le Principle de Réalité, Villa Arson, Nice, France (exh. cat.)
Ha-Ha, Spacex Gallery, Exeter, United Kingdom (exh. cat.)
Wooster Gardens: A group show, New York, New York (curated by Michael Jenkins)
Galerie Snoie, Rotterdam, The Netherlands
With Attitude, Galerie Rodolphe Janssen, Brussels, Belgium
20 Fragile Pieces, Galerie Barbara et Luigi Polla, Geneva, Switzerland (curated by Gianni Romano) (exh. cat.)
Sweet Home, Oriel Mostyn Gallery, Gwynedd, United Kingdom (traveled to South London Gallery, London; Newlyn Art Gallery, Penzance, Cornwall; Aberystwyth Arts Centre) (exh. cat.)
A Group Show: Lea Andrews, Keith Coventry, Anya Gallaccio, Liam Gillick, Damien Hirst, Gary Hume, Abigail Lane, Sarah Lucas, Steven Pippin, Marc Quinn, Marcus Taylor and Rachel Whiteread, Barbara Gladstone Gallery and Stein Gladstone Gallery, New York, NY (curated by Clarissa Dalrymple) (exh. cat.)
Life Size, Museo d’Arte Contemporanea Prato, Italy (exh. cat.)
15/1, Malania Basarab Gallery, London, United Kingdom
Fifth Anniversary Exhibition, Karsten Schubert Ltd, London, United Kingdom
Confrontaciones, Palacio de Velázquez, Madrid, Spain (exh. cat.)
Rachel Evans, Anya Gallaccio, Bridget Smith, The Clove Building, London, United Kingdom
Broken English, Serpentine Gallery, London, United Kingdom (exh. cat.)
Museum of Installation Site Three, Surrey Docks, London, United Kingdom (exh. cat.)
The Times: London’s Young Artists, Art '91 Olympia, London, United Kingdom
Next Phase, Wapping Pumping Station, London, United Kingdom (exh. cat.)
East Country Yard Show, Surrey Docks, London, United Kingdom (exh. cat.)
The Drum Show, Broadgate Arena, London, United Kingdom
New Year New Talent, Anderson O'Day, London, United Kingdom
Poetic Figuration in the Eighties, Laudale House, London, United Kingdom
Freeze, LondonProjects, London, United Kingdom (exh. cat.)
Temporary artwork commission for John Kaldor Projects, Sydney, Australia
The Light Pours Out of Me, permanent artwork commission for Jupiter Artland, Edinburgh, Scotland
Billboard commission for The La Jolla Community Foundation, La Jolla, California
Commission for Ham House and Garden Contemporary Art Programme, Richmond-upon-Thames, Surrey, United Kingdom
Commission for The Party, an exhibition organized by Cumulus Studios at Twentyfirst/Twentyfirst Gallery, New York, New York (commissioned by Natalie Karg)
Shortlisted Artist, Proposal for Enel Contemporanea Award 2010, Rome, Italy
Private artwork commission, Gunton Hall, Norfolk, United Kingdom
Winetasting event for Motherlode, SlaughterhouseSpace, Sonoma, California (invitation of Lee Plested)
Shortlisted Artist, Proposal for permanent commission work for The Eli and Edythe Broad Center of Regeneration Medicine and Stem Cell Research, UCSF, San Francisco, California
Wild goldenrod project, a collaboration with Denniston Hill Arts, New York, New York
A garden for Villa Montalvo, California
Charles Fort, Kinsale Arts, County Cork, Ireland
Christmas Lights, Hayward Gallery, London (invitation of Ralph Rugoff)
Sybil, Houghton Hall, Norfolk
Bag for Life, Limited Edition reusable shopping bag for Sainsbury’s supermarket, (commissioned by Arts Council England)
After the Gold Rush, winemaking collaboration with Zelma Long, Sonoma County, CA
Motherlode, collaboration with Zelma Long, Sonoma County, CA
Limited edition print and etching for Dundee Contemporary Arts, Dundee, Scotland (commissioned by Andrew Nairne)
The Enchaffed Flood, limited edition color C-type print for eyestorm.com (commissioned by Judith Nesbitt)
Absolut Gallaccio, an event for Absolut Vodka, Butlers Wharf, London, UK
54-54-54, Financial Times Building, London, UK (curated by Michael Petry)
Shopping, 15-21 Ganton Street, London and Shops in and around Carnaby Street, London, UK (curated by fat)
Kings Cross planting project, Camden Council and Public Art Development Trust, Camden, UK (still incomplete)
Screen: 12 artists from London, print portfolio published by Charles Booth-Clibborne
Habitat Print Portfolio Prints, produced for sale in Habitat stores (curated by Carl Freedman)
Dandelion, printed silk for Selfridges, London, UK
Be Me, A project for Giorgio Sadotti at Interim Art, London, UK
forest floor, Chiltern Sculpture Trail, Oxford, UK
shiny nylon: Anya Gallaccio, Deborah Levy and Kristina Page, S-Shed, George V Dock, London, Commissioned by Womens’ Playhouse Trust
into the blue, Bournemouth Festival, Bournemouth Beach, Dorset, UK
A dance collaboration with Rosemary Butcher, Third Eye Centre, Glasgow, Scotland
Prestige 2, a work on paper published by GWPress
The Archive Project, APAC, Nevers, France
The Return of Ulysses, Colliseum, London, (floor for English National Opera)
Publications, Catalogues, and Monographs
Tufnell, Ben. "The Secret Landscape." In Sixty-seventh Aleburgh Festival of Music and the Arts, 214-20. Suffolk, England: Aldeburgh Music, 2014.
Bryson, Norman and Briony Fer. Anya Gallaccio. London: Ridinghouse, 2012.
Spaid, Sue. Green Acres: Artists Farming Fields, Greenhouses and Abandoned Lots. Cincinnati, OH: Contemporary Arts Center, 2012, 144, 160, 181.
Enel Contemporanea: Bik Van der Pol: Are You Really Sure that a Floor Can’t also be a Ceiling?. Rome, Enel, 2011.
Petry, Michael, ed. Crafty: The Art of Not Making: The New Artist/Artisan Relationship. London: Thames and Hudson, 2011.
ResMed: The ResMed Art Collection: Selected Works, 21 Years In The Making. San Diego, California: ResMed, 2011, 32.
Eating the Universe: Food in Art. Cologne, Germany: Dumont, 2010, 154-159, 284-85.
On and On. Madrid: La Casa Encendida, 2010. Text by Rachel Campbell Johnston.
On the Edge of the World. London: British Council Publications, 2010, 201-07.
Adophs, Volker. Ferne Nahe: Natur in der Kunst der Gegenwart (Remote Proximity: Nature in Contemporary Art). Cologne, Germany: Wienand, 2009, 109-10.
Adophs, Volker. Our Own and the Other: The Construction of Nature in Art. Bonn, Germany: Kunst Museum Bonn, 2009, 109-110, 113-15.
Boden und Wand/Wand Und Fenster/Zeit. Zürich: Helmhaus, 2009, 77, 83-84. Text by Roman Kurzmeyer.
Craig-Martin, Michael and Andrea Rose. British Council Collection: Passports. In Viaggio con L’Arte. 75 Anni di Pittura, Scultura, Fotografia e Installazioni dalla Collezione del British Council (Traveling with the Art. 75 years of painting, sculpture, photography and installations from the collection of the British Council). London: British Council, 2009.
Feeke, Stephen and Claire Sawyer, ed. Art in Public Places: the Archive of the PADT. Leeds, United Kingdom: Henry Moore Institute, 2009, 13-14. Text by Ellen Tait.
Hamilton, Richard and Vicente Todoli, ed. Food for Thought, Thought for Food, The Creative Universe of El Bulli’s Ferran Adria: A Reflection on the Worlds of Avant-Guarde Cooking and Art. Barcelona, Spain: Actar, 2009, 213-31.
Higa, Karen. Living Flowers: Ikebana and Contemporary Art. Los Angeles: Japanese American National Museum, 2009, 12, 39-42.
Manacorda, Francesco. Radical Nature: Art and Architecture for a Changing Planet 1969-2009. London: Koenig: Co-edition with Barbican Art Gallery, 2009, 13, 127-34.
Cook, Angus. Anya Gallaccio: That Open Space Within. London: Camden Arts Centre, 2008.
Manacorda, Francesco and Lydia Yee, ed. Encyclopedia of Terrestrial Life, Volume VIII. Barbican Art Gallery London and Merrell, London, New York, 2009, 79, 117.
Nina In Position: Reasons for Secrets. New York: Artist’s Space, 2008, 7,13. Text by Jeffrey Uslip.
Anzai: Personal Photo Archives 1970-2006. Tokyo, Japan: The National Art Centre, 2007, 134.
Bickers, Patricia and Andrew Wilson, eds. Talking Art: Interviews with Artists since 1976. London: Art Monthly and Ridinghouse, 2007, 495-504.
Carey-Thomas, Lizzie and Katherine Stout, eds. The Turner Prize and British Art. London: Tate Publishing, 2007, 54-55.
Chanel L’Art Comme Univers. Moscow, Russia: Musee D’etat des Beaux-Arts Pouchkine, 2007, 150.
Fortnum, Rebecca, ed. Contemporary British Women Artists in Their Own Words. London; New York: I.B. Tauris, 2007, 1-7, 163.
This Will Not Happen Without You: Publication From the Collective Archive of the Basement Group, Projects UK and Locus+ (1977-2007). Sunderland, United Kingdom: University of Sunderland Press, 2007, 222-23, 226-27.
Core. London: Illuminate Productions, 2006. Text by Martin Herbert.
Drobnick, Jim, ed. The Smell Culture Reader. Oxford, United Kingdom; New York: Berg Publishers, 2006, 6.
Miles, Rosie and Gill Saunders, ed. Prints Now, Directions and Definitions. London: V&A Publications, 2006, 28-30,81,118.
Wilding, Alison, ed. Royal Academy Illustrated. London: Royal Academy of Arts, 2006, 167.
Uber die Sinne: Geschichten aus des Wahrnehmungswelt; (eine Ausstellung). Weitra, Austria: Publication P No. 1, Bibliothek der Provinz, 2006, 568.
Anya Gallaccio: The Look of Things. Prato, Italy: Gli Ori, 2005, 135. Texts by Lorenzo Fusi, Anya Gallaccio, Mark Gisbourne, and Jordan Kaplan.
Button, Virginia. The Turner Prize. London: Tate Publishing, 2005.
Gallaccio, Anya. Silver Seed. London: Ridinghouse, 2005.
Monuments for the USA. San Francisco, California: CCA Wattis Institute, 2005. Text by Ralph Rugoff.
Sad Songs. Normal, Illinois: (University Galleries: Illinois State University: Illinois Art Council, 2005, 30-21. Texts by Richard Hell and Martin Patrick.
ZIEwolde, Kunst Landschap Natuur. Holland: De Verbeeling Zeewolde, 2005. DVD.
Art of the Garden. London: Tate Publishing, 2004, 190-192, 159.
Forest. Wolverhampton, United Kingdom: Wolverhampton Art Gallery, 2004.
Foster, Alicia, ed. Tate Women Artists. London: Tate Publishing, 2004, 173, 201, 247.
Look & Feel: Art Landscape Nature 2002-2003. Zeewolde, The Netherlands: De Verbeelding, 2004, 17, 140-143, 160.
Turning Points: 20th Century British Sculpture. Tehran: Iranian Institute for Promotion of Visual Arts for Tehran Museum of Contemporary Art, 2004, 18-21.
Von Pop bis Heute, Das Grosse Fressen. Bielefeld, Germany: Kunsthalle Bielefeld, 2004, 66-67.
Celant, Germano and Patsy Craig. Making Art Work—Mike Smith Studio. London: Trolley, 2003, 464-78.
In Print, Contemporary British Art from The Paragon Press. London: The British Council, 2001.
Le Symbolisme Idealiste en France. Tokyo: The Yomiuri Shimbun and The Japan Association of Art Museums, 2003, 46.
Micro/Macro: British Art 1996-2002. Budapest, Hungary: Mucsarnok, 2003, 48-49, 121. Text by Alex Farquharson.
Perry. London: Tate Publishing, 2003. Text by Rachel Tant.
Purloined Nature. Chiba, Japan: Kawamura Memorial Museum of Art, 2003, 14.
Turner Prize 2003: Jake and Dinos Chapman, Willie Doherty, Anya Gallaccio, Grayson
Cooke, Angus and Simon Watney. Anya Gallaccio. Birmingham, UK: Ikon Gallery Publications, 2003.
Blast To Freeze: British Art in the 20th Century. Ostfildern-Ruit, Germany: Hatje Cantz; New York: D.A.P., 2002. Text by Richard Shone.
Bradley, Fiona. Words from the Arts Council Collection. London: Hayward Gallery, 2002.
Cork, Richard. Breaking Down the Barriers? Art in the 1990s. New Haven, Connecticut: Yale University Press, 2002.
Gallaccio, Anya. Beat. London: Tate Publishing, 2002. Texts by Mary Horlock, Simon Schama and Heidi Reitmaier.
Schone Aussicht: der Blick auf die Berge von Segantini bus Weinberger. Vienna, Austria; Bolanzo, Italy: Folio Verl, 2002.
Space Cooks. London: Space Studios Gallery, 2002.
Arte y Naturaleza: Montemedio Arte Contemporaneo. Montenmedio, Spain: NMAC, 2001.
Bury, Stephen. Multiplication: A British Council Touring Exhibition of Artists’ Multiples. London: British Council, 2001.
Carpenter, Ele and Graham Gussin. Nothing. London: August Media, 2001.
Cooper, Paul. Livingsculpture. London: Mitchell Beazley, 2001.
Dewilde, Michel and Jan Hoet, eds. Artline 5-Natur & Architektur. Gent, Belgium: Stadt Borken and S.M.A.K., 2001.
Booth-Clibborn, Patrick Elliott and Lewison, Jeremy. Contemporary Art in Print: The Publications of Charles Booth-Clibborn and His Imprint. London: Booth-Clibborn: Paragon, 2001.
Field Day Sculpture from Britain. London: Taipei Fine Arts Museum and The British Council, 2001.
Francis, Mark, Christina Colomar and Christabel Stewart, eds. Fig-1: 50 Projects in 50 Weeks. London: Fig-1 2000 and Spafax, 2001.
Hasegawa, Yuko. 7th International Istanbul Biennial–Egofugal: Fugue from Ego for the Next Emergence. Istanbul: Istanbul Foundation for Culture and Arts, 2001.
Hasegawa, Yuko. 7th International Istanbul Biennial–Egofugal: Fugue from Ego for the Next Emergence (Second Publication with Installation Shots). Istanbul: Istanbul Foundation for Culture and Arts, 2001.
Reckitt, Helena and Peggy Phelan. Art and Feminism. London; New York: Phaidon, 2001.
Bennett, Sarah and John Butler, eds. Locality, Regeneration and Divers[c]ities. Bristol, England; Portland, Oregon: Intellect, 2000, 41-50. Text by Judith Rugg.
DeCandia, Mario, and Stefania Miscetti. Anableps. Rome: Studio Stefania Miscetti, 2000, 118.
Guglielmino, Giorgio. Come Guardare l’Arte Contemporanea e Vivere Felici: 55 Opere dal 1970 al 2000. Torino, Italy: U. Allemandi, 2000.
Kurzmeyer, Roman. Erlebte Modelle (Model Experience). Zurich: Voldemeer; Vienna; New York: Springer, 2000, 17, 125.
Solus, Locus. Site, Identity, Technology in Contemporary Art. London: Black Dog, 2000, 51.
The Greenhouse Effect. London: Serpentine Gallery, 2000, 61.
Deblonde, Gautier. Artists. London: Tate Gallery, 1999. Text by Mel Gooding.
Dundee Contemporary Arts: 1999. Dundee: Dundee Contemporary Arts, 1999. Texts by Katrina Brown and Andrew Nairne.
Gallaccio, Anya. Chasing Rainbows. Glasgow: Locus+; Newcastle: Tramway, 1999. Text by Ralph Rugoff, interview with Andrew Nairne.
Gallaccio, Anya. Releasing Senses. Tokyo: Tokyo Opera City Cultural Foundation, 1999.
Leaving Tracks: Artranspennine98; An International Contemporary Visual Art Exhibition Recorded. Manchester, United Kingdom: August Media in association with Art Transpennine, 1999.
Adams, Brooks, ed. Sensation. London: Thames and Hudson in association with the Royal Academy of Arts; New York: Thames and Hudson, 1998. Text by Richard Shone.
Here to Stay: Arts Council Collection Purchases of the 1990's. London: Hayward Gallery, 1998. Text by Susan May.
Interactive: An Exhibition of Contemporary British Sculpture. London: Amanda Hess, 1998, 20-21.
Sossai, Maria Rosa. Fine Arts 1997-1998: The British School at Rome. Rome: Studio Lodoli Sud, 1998.
Murray, Peter. New Art from Britain. Innsbruck, Austria: Kunstraum Innsbruck, 1998.
Real Life: New British Art. Tokyo: Asahi Shimbun and Museum of Contemporary Art, Tokyo, 1998.
Wentworth, Richard. Richard Wentworth's Thinking Aloud. London: Hayward Gallery, 1998. Text by Nick Groom.
Godfrey, Tony. Conceptual Art. London: Phaidon, 1998.
Archer, Michael. Art Since 1960. London; New York: Thames and Hudson, 1997.
Buck, Louisa. Moving Targets: A User’s Guide to British Art Now. London: Tate Gallery, 1997.
Der Verlorene Garten. Liestal, Switzerland: Kunsthalle Palazzo, 1997. Text by Roman Kurzmeyer.
Gallaccio, Anya. Anya Gallaccio 97.1. San Antonio, Texas: ArtPace: International Artist-in-Residence Program, 1997. Text by Shaila Dewan.
Murphy, Bernice, ed. Pictura Britannica: Art from Britain. Sydney, Museum of Contemporary Art, 1997.
Private Face-Urban Space: A New Generation of Artists from Britain. Athens: Hellenic Art Galleries Association, 1997, 53-57.
Curtis, Penelope and Terry Friedman, eds. Leeds’ Sculpture Collections: Illustrated Concise Catalogue. Leeds, United Kingdom: The Centre For The Study Of Sculpture, Henry Moore Institute, 1996.
Hunt, Ian and Jane Rolo, eds. Book Works: A Partial History and Sourcebook. London: Book Works, 1996, 143.
Januszczak, Waldemar and Celia Lyttelton, eds. Za Nau Ato Bukku (The Now Art Book). Kyoto, Japan: Korinsha Press and Company, 1996.
Private View. Leeds, United Kingdom: Henry Moore Institute, 1996. Text by Penelope Curtis.
Projekte der Galerie im KunstlerHaus Bremen. Bremen, Germany: Galerie im KunstlerHaus, 1996.
Shone, Richard. From Figure to Object: A Century of Sculptors’ Drawings. London: Frith Street Gallery and Karsten Schubert Gallery, 1996, 262.
Brilliant!: New Art from London. Minneapolis, Minnesota: Walker Art Center, 1995. Text by Richard Flood, interview with Marcelo Spinelli.
British Art Show4: National Touring Exhibitions. London: South Bank Centre, 1995.
Chocolate!. New York: Swiss Institute, 1995, 37, 43.
Le Shuttle: Tunnelrealitaten Paris, London, Berlin. Berlin: Kunstlerhaus Bethanien, 1995, 66-70.
The Brit Pack: Contemporary British Art, The View from Abroad. Manchester, United Kingdom: Cornerhouse, 1995, 22. Text by Patricia Bickers.
Yard, Sally, ed. InSITE 94: A Binational Exhibition of Installations and Site-specific Art. San Diego, California: Installation Gallery, 1995, 88-89, 121. Text by Oliver Debroise.
Where You Were Even Now. Winterthur, Germany: Kunsthalle, 1995, 10-11, 20, 22-24, 26. Text by Roman Kurtsmeyer.
Anya Gallaccio: La Dolce Vita. Rome: Studio Stefania Miscetti, 1994.
Art Unlimited: Multiples of the 1960s and 1990s. London: South Bank Centre, 1994.
Corris, Michael. Punishment and Decoration. Cologne: Hohenthal and Bergen, 1994.
Archer, Michael. Anya Gallaccio. Wien, Germany: Galerie Krinzinger, 1993.
Benjamin, Andrew, ed. Installation Art, Art and Design. London: Academy Editions, 1993.
Blaswick, Iwona. Ha-Ha: Contemporary British Art in an 18th Century Park. London: Spacex Gallery, 1993.
Gillick, Liam. Stubbs, Mark Wallinger, Gillian Wearing. New York: Mark Boote Gallery, 1993.
Le Principe de Realite (2, 3 and 9). Nice, France: Villa Arson, 1993.
Mandy Loves Declan 100%. New York : Mark Boote Gallery, 1993.
Gillick, Liam. A Group Show. New York: Barbara Gladstone Gallery and Stein Gladstone Gallery, 1992.
Life Size: Small, Medium and Large. Prato, Italy: Museo d’Arte Contemporanea, 1992.
Romano, Gianni. Twenty Fragile Pieces. Geneva, Switzerland: Galerie Analix, 1992.
Sweet Home: Anya Gallaccio, Pat Kaufman, Cornelia Parker, Pat Thornton. Gwynedd, United Kingdom: Oriel Mostyn Gallery, 1992.
Sweet, Kim. Anya Gallaccio. London: Institute of Contemporary Art, 1992.
Currah, Mark. Museum of Installation Site Three. Surrey Commercial Docks, UK, 1991.
Gillick, Liam and Andrew Renton, eds. Technique Anglaise–Current Trends in British Art. London: Thames and Hudson, 1991.
Graham Dixon, Andrew. Broken English. London: Serpentine Gallery, 1991.
Martinez de Valasco, Ramon, ed. Confrontaciones: Britanico y Español. Madrid, Spain: Minesterio de Asuntos Sociales and The British Council, 1991.
Bond, Henry and Sarah Lucas. East Country Yard Show. Surrey Commercial Docks, United Kingdom: East Country Yard, 1990.
Jeffrey, Ian. Nextphase. Tobacco Dock, Wapping Pumping Station, London: WiseTaylor Partnership, 1990.
Hirst, Damien, ed. Freeze. London: Olympia and York Canary Wharf and Docklands Development Corporation, 1988. Text by Ian Jeffrey.
Articles and Reviews
Goleas, Janet. "Art Review: The Pilgrim Soul of Anya Gallaccio." Hamptons Art Hub (New York), July 13, 2015.
Battle, Laura. "Anya Gallaccio at Aldeburgh." Financial Times, June 6, 2014.
Duguid, Hannah. "Anya Gallaccio: An Exhibition That's Good Enough to Eat." Independent (London), June 1, 2014.
Kennedy, Maev. "Traumatised" Pebble Pictures Exhibited to Mark Centenary of First World War." Guardian, June 11, 2014.
Munro, Cait. "Artist Creates Chocolate-covered Room, Inivites Visitors to Lick It." Artnet.com, June 2, 2014.
"Orford Ness Pebble Turned into Giant Artworks for Aldeburgh Festival." BBC News (Suffolk), June 23, 2014.
Schaeffer, Kaitlyn. “Chocolate Wallpaper Lets Visitors Lick This Delicious Installation.” Complex.com, May 31, 2014.
Taylor, Rhona. "Tasteful Art: As Long As You See It Soon." Times (Scotland), May 17, 2014.
Andrews, Scott. "Anya Gallaccio at Artpace." Current (San Antonio), May 29, 2013.
Dunne, Lucy. "Tipping Point Explores Humanity and Nature at Wolverhampton Art Gallery." Culture24, May 28, 2013.
Alessi, Andrea. “Anya Gallaccio: Highway,” Artslant.com, October 17, 2011.
Fuchs, Rudi. “Onpeilbaar,” Groene Amsterdammer, September 29, 2011.
Hickling, Alfred. “The Old Masters,” Guardian, October 31, 2010.
Nalls, Gayil. “Olfactory Art: A New Genre,” PsychologyToday.com, August 30, 2010.
“Art and Fashion.” Vogue (Japan), no. 129 (May 2009): 31.
Coxhead, Gabriel. “Radical Nature: Art and Architecture for a Changing Planet,” Time Out (London), July 2-8, 2009.
Davis, Laura. “Turner Prize Nominee Anya Gallaccio Exhibits at the Bluecoat,” Liverpool Daily Post, March 5, 2009.
Graham-Dixon, Andrew. “Radical Nature at the Barbican Centre,” Sunday Telegraph, September 13, 2009.
Kinmonth, Patrick. “Modern Manors.” Vogue 199, no.3 (March 2009): 452-457.
Moore, Rowan. “Radical Nature Attempts to Save the Planet,” Evening Standard, June 24, 2009.
Wright, Herbert. “Exhibitions: Radical Nature: Art and Architecture for a Changing Planet 1969-2009.” Blueprint (August 2009): 99.
Cheng, Scarlet. “Flower Power: How Their Roots Intertwine,” Los Angeles Times, July 6, 2008.
Cole, Lori. “Critic’s Picks: Nina in Position,” Artforum.com, February 20, 2008.
Cotter, Holland. “Art Review: Nina In Position,” New York Times, February 15, 2008.
Gallaccio, Anya. “500 Words: Anya Gallaccio,” Artforum.com, July 20, 2008.
Guner, Fisun. “Gigantic Trees Gather in Gallaccio’s Gallery,” Metrolife, July 16, 2008.
Howe, David Everitt. “A Hushed Elegy,” Village Voice, February 5, 2008.
Hubbard, Sue. “Back to the Roots of Life and Death,” Independent, July 24, 2008.
Miles, Christopher. “Arranged Marriage: Mixing It Up With Flowers and Art,” LA Weekly, July 24, 2008.
Myers, Holly. “Inspired by the Santa Ana Winds,” Los Angeles Times, July 18, 2008.
Riggott, Julie. “Not a Show About Flowers,” Downtown News, June 27, 2008.
Tijdelijke, Het. “Anya Gallaccio. Bij de Gratie Van.” Kunstbeeld, no. 3 (2008): 40-43.
Williams, Eliza. “Current Shows: Anya Gallaccio,” Frieze.com, January 9, 2008.
“Anya Gallaccio,” The Guardian Guide, April 21-27, 2007.
“Arte Povera.” Connaissance des Arts (March 2007).
Aspden, Peter. “Culture Leaves Home,” Financial Times, June 2-3, 2007.
Barnett, Laura. “The Ice Man Cometh,” Guardian, December 17, 2005.
Clintberg, Mark. “Anya Gallaccio: the Artist’s Palate.” Art Newspaper (December 8-9 2007): 12.
Gluck, Malcom. “Straight From the Art,” Harpers Wine & Spirit Weekly, November 16, 2007.
Howe, Michael. “Plonk, Bottled and Sold-But What Does it Mean? Wonders Michael Howe.” Architects Journal (November 2007).
“See Macramé Turned into an Art Form,” London Paper, April 25, 2007.
Sumpter, Helen. “Anya Gallaccio, Private View,” Time Out (London), April 25-May 1, 2007.
“The Producers: A Roundtable.” Artforum 46, no. 2 (October 2007): 352.
“Vine Art.” Royal Academy of Arts Magazine, no. 94 (Spring 2007): 38.
“Anya Gallaccio, On Wine and Macramé.” Magazine for Contemporary Craft, no. 204 (January-February): 96.
Johnson, Ken. “Sculpture That Looks Very Much Like a Tree; Actually it is a Tree,” New York Times, January 13, 2006.
Kino, Carol. “Anya Gallaccio’s Conceptual Project Yields Zinfandel,” New York Times, July 9, 2006.
“News and Around: Anya Gallaccio.” Tema Celeste, no. 114 (March-April 2006): 103.
Black, Catriona. “Conceptual Art Takes Root in Bute,” Sunday Herald, July 17, 2005.
Darwent, Charles. “Anya Gallaccio.” ArtReview (International) 3, no. 3 (March 2005): 93.
Glover, Michael. “Gallacio’s Tree of Life,” Financial Times, February 3, 2005.
Jeffrey, Moira. “When Nature Imitates Art…,” Herald, July 1, 2005.
Lack, Jessica. “Silver Seed,” Guardian, August 8, 2005.
Mansfield, Susan. “One Tree, a Silver Lining and a Forest of Natural Beauty,” Scotsman, June 28, 2005.
“Seed of Imagination Can Be So Degrading,” Scotland on Sunday, June 26, 2005.
“The Pink List,” Independent on Sunday, June 26, 2005.
Wright, Karen. “View from Sienna.” Modern Painters (March 2005): 41-42.
“Anya Gallaccio,” Guardian Guide (A Specially Commissioned Magazine to Mark the Frieze Art Fair) (2004): 12-13.
Gardiner, Joe. “Inspiral Carpets.” Journal of the Landscape Institute, no. 2 (February 2004): 26-27.
Honigman, Ana Finel. “Anya Gallaccio,” Tema Celeste, no. 103 (May-June 2004): 91-92.
McDowall, Angus. “No Sensation as Britart Goes to Tehran (…),” Independent, February 25, 2004.
“Review,” New Yorker, March 22, 2004: 20.
Rolak, Sonia. “Big Themes for This Year.” NY Arts (February 2004): 10.
“50 Top Tips for the Autumn,” Observer, September 14, 2003.
Alberge, Dalya. “Controversy Wins Again as Turner List Revealed,” Times (London), May 30, 2003.
Alberge, Dalya. “Sex dolls? Maggots? It Must Be the Turner Prize,” Times (London), October 29, 2003.
“A Responsibility Towards Object.” Modern Painters (September 2004): 72-75.
Burrel, Ian. “A Transvestite, Mouldy Potatoes and War. It’s Turner Time Again,” Independent, May 30, 2003.
Bussey, Katrine. “Paisley Artist in Line for Turner,” Paisley Dailey Express, October 30, 2003.
Campbell-Johnston, Rachel. “Constant Change Can Track an Idea Against All Expectations,” Times (London), May 30, 2003.
Coomer, Martin. “The Turner Prize 2003 Shortlist,” Time Out (London), October 22-29, 2003.
Cork, Richard. “The Shock of the Old,” New Statesman, November 10, 2003.Darwent, Charles. “The Odd Are,” Independent on Sunday, November 2, 2003.
Dorment, Richard. “Ignore the Naughtiness,” Daily Telegraph, October 29, 2003.
“Exhibitions, Pick of the Week,” Guardian Guide, November 30, 2003.
Gayford Martin. “They Only Do It to Annoy,” Sunday Telegraph, November 2, 2003.
Gibbons Fiachra. “But the Real Shock is…the Essex Vases,” Guardian, October 29, 2003.
Gifford, Mark. “We Will Shock You,” TNT Midweek, no. 8, December 3, 2003.
Greenwood, Phoebe. “First Choice: The Best Shows in London,” Times (London), October 30, 2003.
Güner, Fisun. “Turner’s a Turn-off,” Metro, October 30, 2003.
Hirst, Christopher. “Sex and Death at the Turner Prize,” Independent Magazine, November 8, 2003.
Hoggard, Liz. “Blown Up Out of All Proportion,” Observer Review, November 2, 2003.
Hyman, James. “Up in Smoke.” ArtReview 3, no. 3 (April 2003): 62-65.
Januszczak, Waldemar. “Art Turner Prize,” Times (London), December 7, 2003.
Jury, Louise. “For Adults Only: Sex and Death Dominate Turner Prize,” Independent, October 29, 2003.
Kent, Sarah. “A Real Head-Turner,” Time Out (London), November 5-12, 2003.
Lubbock, Tom. “Four Go Mad at the Tate,” Independent Review, October 29, 2003.
MacMillan, Duncan. “Modern Art Goes Back to Its Roots,” Scotsman, December 2, 2003.
Miller, Phil. “Turner Prize Work that Could Bear Fruit,” Herald, May 30, 2003.
Reynolds, Nigel. “Transvestite Potter in Frame for Turner Prize,” Daily Telegraph, May 30, 2003.
RS. “Anya Gallaccio.” Artforum 41, no. 5 (January 2003): 63.
Searle, Adrian. “State of Decay,” Guardian, October 29, 2003.
Searle, Adrian. “Usual Suspects on Turner Shortlist,” Guardian, May 30, 2003.
Sewell, Brian. “Playing the Turner,” Evening Standard, October 31, 2003.
Steketee, Hans. “Zonder Eiken Geen Empire,” Cultureel Supplement, September 5, 2003.
Sumpter, Helen. “Turner Overdrive,” Big Issue, November 11, 2003.
“The Five Best exhibitions,” Independent, November 4, 2003.
“The Turner Prize Debate, Collings vs. Snow,” London Student, November 24-December 7, 2003.
“Turner at 20, Justin Westover Photographs the Waitlisted Artists.” Tate Magazine, no. 8 (November-December 2003): 46-47.
“Turner Prize 2003.” Art of England (October-November 2003): 21.
Van Gelder, Lawrence. “Arts Briefing – Britain: X-rated Art,” New York Times, October 29, 2003.
Wollaston, Sam. “Overhead at the Turner Prize,” Guardian, October 31, 2003.
Young, Angus. “Artist Makes Turner List,” Hull Daily Mail First, October 30, 2003.
“16 September, in Hot Dates.” Elle (September 2002): 75.
“A Forest of Sculpture.” The Art of the Tree (2002): 60-61.
Alberge, Dalya and Fresco Adam. “Ancient Trees Cut Down for Tate Exhibition,” Times (London), September 4, 2002.
“Anya Gallaccio: Beat.” Modern Painters (Winter 2002): 141.
“A Ship in a Bottle, Interview Anya Gallaccio and Tacita Dean.” Modern Painters (Autumn 2002): 26-29.
“Chocoholic Art.” Royal Academic Magazine, no. 77 (Winter 2002): 67.
Cork, Richard. “Root and Branch Radical,” Times (London), September 4, 2002.
Field, Marcus. “There’s Sugar and Spice, But All the Rest is Not Very Nice,” Independent, December 8, 2002.Gayford, Martin. “A Walk in the Woods,” Telegraph, September 18, 2002.
Güner, Fisun. “Sweetness and Delight,” Metro, September 19, 2002.
Hackworth, Nick. “Sweet and Sour Allusions to Tate’s Past,” Evening Standard, September 18, 2002.
Herbert, Martin. “Anya Gallaccio.” Art Monthly (November 2002): 29-30.
Herbert, Martin. “Immaterial Girl.” ArtReview (September 2002): 98-99.
Kent, Sarah. “Best Glade Plans,” Time Out, September 11-18, 2002.
Lehrman, Karen. “Resurrection, Anya Gallaccio’s Barren Bounty Raises the Spirits.” Smock 2, no.1 (Winter 2002): 104-112.
Leitch, Luke. “Old Oaks Felled for 4-Month Show at the Tate,” Evening Standard, September 3, 2002.
“Meltingly Lovely and Messy to Boot,” Independent on Sunday, September 15, 2002.
Millar, Bruce. “Landscape into Art.” Tate Magazine, no 1 (September-October 2002): 94.
Reilly, Maura. “Anya Gallaccio at Lehmann Maupin.” Art in America, no. 7 (January 2002): 111.
Schama, Simon. “Roots,” Guardian, September 14, 2002.
“Sugar and Sevenoaks at Tate Britain,” Art Newspaper, September 2002.
Sumpter, Helen. “Anya Gallaccio, in Opening This Week,” Evening Standard, September 13-19, 2002.
Ward, Ossian. “Anya Gallaccio, Life is Sweet,” Hotline, Winter 2002.
“Water and Fruit,” House and Garden, October, 2002.
Williams, Daniel. “Rockmakers’ Skill to Feature in Tate Work,” Basildon Evening Echo, September 11, 2002.
Wright, Karen. “Born in a Balloon.” Modern Painters (Autumn 2002): 19.
Abela, Hosanna. “Esculturas en Su Habitat,” Periodico del Arte, July 2001.
Ángeles González, Maria. “Arte en Libertad,” IDEAL, June 3, 2001.
“Anya Gallaccio @ Lehmann Maupin,” thegallerychannel.com, October 4, 2001.
“‘Anya Gallaccio,’ Galleries–Downtown,” New Yorker, September 24, 2001, 16.
“Arte y Naturaleza.” Lapiz (February 2001): 191.
“Cante para Presentar las Esculturas de Montenmedio,” País, February 17, 2001.
“El Arte Interviene en el Paisaje,” Periodico del Arte, June 2001.
“Garrat, Sheryl, Go See… Absolut Gallaccio,” Observer Magazine (January 21, 2001): 6.
Gell, Aaron. “Critical Eye.” W 30, no. 9 (September 2001): 272.
Glez-Santiago, Lalia. “En la Elite Mundial,” Diario de Cadiz, June 4, 2001.
Glez-Santiago, Lalia. “Paseo por el Arte Último en el Sur Profundo,” Diario de Cadiz, May 27, 2001.
González-Barba, Andrés. “Nueve Artistas Exponen Sus Obras en Plena Naturaleza en el Nuevo Museo de Montenmedio,” ABC, June 10, 2001.
Iglesias, Pepe. “Arte y Naturaleza y Los Artistas y Sus Obras,” Correo, May 29, 2001.
“La Primera Escultura en Montenmedio,” Diario de Cadiz, March 23, 2001.
Lehmann Maupin. Time Out (New York), October 4-11, 2001.
Levin, Kim. “Anya Gallaccio,” Village Voice, October 2, 2001.
Luque, Alejandro. “La Colección Montenmedio Acerca la Creación Plástica a la Naturaleza,” País, May 29, 2001.
Mahony, Robert. “Anya Gallaccio, ‘Blessed’ Lehmann Maupin,” Time Out (New York), October 11-18, 2001.
McLaren, Duncan. “Nine Ancestral Voices.” Contemporary Visual Arts (Spring 2001): 54.
Molina, Margot. “El Sueño de un Bosque de Verano,” País, June 23, 2001.
Mora, Miguel. “Montenmedio Mezcla Arte y Naturaleza,” País, February 4, 2001.
Morgan, Robert C. “Anya Gallaccio.” Tema Celeste, no. 88 (July-September 2001): 80.
Newhall, Edith. “A Tree Grows in Manhattan,” New York Magazine, October 1, 2001.
Palomo, Bernardo. “La Feliz Fusion del Arte y la Naturaleza,” Diario de Cadiz, June 1, 2001.
Patrick, Keith. “Sites of Trespass, the Return of the Narrative.” Contemporary Visual Arts, no. 33 (March 2001): 42-47.
Saltz, Jerry. “Keeping the Faith,” Village Voice, October 2, 2001.
Smith, Roberta. “Anya Gallaccio,” New York Times, October 19, 2001.
Téllez, Juan José. “Magda Bellotti Cierra Su Sala de Algeciras y Se Va a Madrid,” Diario de Cadiz, May 28, 2001.
“The Beautiful Hangover,” Time Out, January 17-24, 2001, 42.
Bronwa, Sacha. “Zoetfris Maar Ook Misselijkmakend,” Volkskrant, July 12, 2000.
Bruggeller, Moni. “Brennende Skulptur,” Neue Krone, March 9, 2000.
Den Breejen, Maartje. “Vergankelijkheid, Geld, Chocola en Rotte Appels,” Parool, July 22, 2000.
Gallaccio, Anya. “Response to a Space.” (a-n) For Artists (November 2000): 3.
Hughes, Henry Meyric. “New Art from London.” Tema Celeste, no. 79 (March-April 2000): 64-69.
Kent, Sarah. “Lemon Tree Hill,” Time Out (London), August 23-30, 2000.
Lack, Jessica. “Green Fingers,” Guardian, April 1-7, 2000.
Markwell, Lisa. “Estate of the Art,” Independent Magazine, July 29, 2000.
Staple, Polly. “The Greenhouse Effect.” Art Monthly, no. 236 (May 2000): 38-40.
“Back Beat,” Big Issue, March 4, 1999.
Beaumont, Susanna. “Say it with Flowers,” List (Edinburgh), March 4, 1999.
Benjamin, Marina. “One Sensation After Another,” Evening Standard, November 5, 1999.
Bennett, Oliver. “Petal Pushers,” Guardian Weekend, January 23, 1999.
Colin, Beatrice. “I believe...,” Scotsman Weekend, January 2, 1999.
“Exhibitions,” Guardian, March 13, 1999.
Falconer, Morgan. “The Art of the Possible,” Highbury and Islington Express, October 22, 1999.
“Glaschu (Dear Green Place) '7' 7 Days, 7 Nights,” Scotland on Sunday, March 7, 1999.
Heartney, Eleanor. “Quotidian in Quebec.” Art in America 87, no. 2 (February 1999): 49-51.
Henry, Clare. “Melting Moments,” Herald Magazine, March 13, 1999.
Heshner, Philip. “Glimpsing the Iceberg.” Modern Painters 12, no. 4 (Winter 1999-2000): 52-55.
Jones, Jonathan. “Anya Gallaccio,” Guardian, September 16, 1999.
Jones, Oliver. “Curtains for Hamlet,” What's On, October 13, 1999.
Kennedy, Maev. “Out of the Garret,” Guardian, October 1, 1999.
Mahoney, Elisabeth. “A Green and Pleasant City,” Independent, March 15, 1999.
Mahoney, Elisabeth. “Anya Gallaccio.” Art Monthly, no. 226 (May 1999): 31-33.
Mahoney, Elisabeth. “The Floral Trance,” Scotsman, March 12, 1999.
Morley, Simon. “Natural Dependency,” Independent on Sunday, November 7, 1999.
Musgrave, David. “Natural Dependency.” Art Monthly, no. 232 (December-January 1999-2000): 34-36.
Negrotti, Rosanna. “Natural Dependency,” What's On, December 1, 1999.
Patrick, Keith. “Anya Gallaccio: Chasing Rainbows,” Contemporary Visual Arts, no. 25 (1999): 76-77.
“Preview of 1999,” List (Edinburgh), January 7, 1999.
“REAL/ LIFE.” Ryusei Ikebana (January 1999): 34-35.
Reed, Robert. “Sign of Artistic Recovery in Hatsudai,” Daily Yomiuri, September 1999.
Searle, Adrian. “Gifted Weekend,” Guardian, October 2, 1999.
“Anya Gallaccio,” Guardian, March 21, 1998.
“Anya Gallaccio,” Times (London), April 7, 1998.
“A Poor Relation No More, Art for Landscape.” Landslides (September 1998): 10.
Blueprint Magazine (July-August 1998): 26-29.
Buck, Louisa. “Anya Gallaccio.” Art Newspaper (April 1998).
Buck, Louisa. “Artranspennine Assessed.” Art Newspaper (July-August 1998).
“Chasing rainbows,” Big Issue, April 1998.
Cincinelli, Saretto. “Margini della Pittura (L’esterno Dell’interno e L’interno Dell’esterno).” Juliet Art Magazine, no. 87 (April-May 1998): 26-29.
Cornwell, Jane. “Shifting Sands.” Sybil Magazine (May 1998): 39.
Eggleton, David. “Waiving the Rules,” Listner (New Zealand), March 7 1998.
Fever, William. “‘North Poles, Artranspenine,” Observer, June 7, 1998.
Fever, William. “Two Paintings are Small Enough to be Mistaken for False Fingernails,” Observer Review, April 5, 1998.
Fletcher, Tracy. “Lottery Loot for the Arts,” Hull Daily Mail, September 2, 1998.
Fletcher, Tracy. “‘Toilet Roll’, Down the Pan,” Hull Daily Mail, June 27, 1998.
“Floating Art Makes Hump City Look Like a Sane Decision,” Hull Daily Mail, May 28, 1998.
“Hot tickets,” Evening Standard, March 25, 1998.
Kee, Cynthia. “Unfinished Business,” Guardian, February 1998.
Kenny, David. “National Lottery Fury at Giant Toilet Roll in Sea,” Daily Star (United Kingdom), May 25, 1998.
Kino, Caroll. “Cutting-Edge but Comfy,” Atlantic Monthly 282, no. 5 (November 1998): 125-131.
Lewis, Claire. “Sublime Spaces.” Contemporary Visual Arts, no. 19 (July-August 1998): 20-25.Miyatake, Miki. “Sign of the Times.” Art Space, no. 1 (1998): 30-31.
Muritti, Elisabetta. “Arte & Cibo.” Elle (Italy) (October 1998).
Patrick, Keith. “Anya Gallaccio, Chasing Rainbows.” Contemporary Visual Arts, no. 19 (July-August 1998): 73.
“Pier attraction,” Hull Daily Mail, May 22, 1998.
“River Takes an Early Toll on Hiscox Two Sisters,” Insurance Times, July 2, 1998.
Robinson, Jamie. “Four Days, A Thousand Miles: The Gazza Diet and Artranspennine98'.” Blueprint, no. 52 (July-August): 1998.
Scott, Roger. “The £60,000 Loo Roll,” Daily Mail, May 25, 1998.
Sloane, Chris. “Sinking Feeling Over Floating Art,” Hull Daily Mail, May 23, 1998.
Taylor, Alastair. “£60,000 Lotto Cash for Chalk 'Loo Roll' Dumped in the Sea,” Sun (United Kingdom), May 25, 1998.
Taylor, Sam. “Can You Tell a Masterpiece from a Pile of Old Rubbish?,” Daily Mail, May 29, 1998.
“Two Sisters Cost Council Nothing,” Hull Daily Mail, June 13, 1998.
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Ungoed-Thomas, Jon. “Down the Pan: Tide Flushes Away £60,000 Hull 'Toilet Roll' Sculpture,” Sunday Times (London), June 28, 1998.
Ungoed-Thomas, Jon. “Hull Watches Its £60,000 Sculpture Dissolve in Tide,” Sunday Times (London), June 28, 1998.
Van Driel, Anne. “Welters/Bloom Gallery,” September 9, 1998.
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Young, Angus. “River Site for Vanishing Art,” Hull Daily Mail, May 5, 1998.
Alotta, Serena. “Anya Gallaccio,” Telegraph Magazine, February 1, 1997.
“Anya Gallaccio,” Attitude, May 1997.
Buck, Louisa. “Creme de la Femme,” GQ (December 1997).
Damianovic, Maia. “La Pittura Oltre I Confini.” Tema Celeste, no. 61 (March-April 1997) 58-63.
Dorment, Richard. “Hypnotic Power of the Object,” Daily Telegraph, April 23, 1997.
Flett, Kathryn. “Material Girl,” Observer Review, June 22, 1997.
Goddard, Dan R. “San Antonio Hosts UK Artist.” Artists Newsletter (May 1997): 8.
Grayford, Martin. “Poppet Green is Alive and Well,” Spectator (United Kingdom), April 26, 1997.
Green, David. “Bringing It All Back Home (…).” Contemporary Visual Arts, no. 16 (Fall 1997): 54-60.
Hall, James. “The School Without an Underclass,” Times Literary Supplement (United Kingdom), May 2, 1997.
Hensher, Philip. “Object Lessons,” Mail on Sunday, April 6, 1997.
Musgrave, David. “Anya Gallaccio.” Art Monthly, no. 208 (July-August): 41.
Negrotti, Rosanna. “Anya Gallaccio: Keep of the Grass,” What’s on London, June 18, 1997.
Ollman, Leah. “Life’s Cycle,” Los Angeles Times, November 14, 1997.
Pickstone, Charles. “The Cult of Matter.” The Month (May 1997): 206-207.
Searle, Adrian. “Isn’t It Offal?,” Guardian, April 8, 1997.
Shore, Richard. “Material Witness,” Observer, April 6, 1997.
T.A. “Window of Opportunity for Artists,” Financial Times, May 31, 1997.
Tong, Kim. “No Pretensions to Monumental Solidity or a Minimal Love.” Make (June-July): 6-7.
Wilson, Andrew. “Object Lesson.” Art Monthly, no. 206 (May 1997): 1-4.
“Agigate’.” Tate Magazine (Spring 1996).
Andrew, Chris. “The British Art Show 4,” Finetime, June 1996.
Anson, Libby. “The British Art Show 4.” Contemporary Art 3, no. 2 (Spring 1996): 82-84.
Anya Gallaccio. “Anya Gallaccio on Richard Wilson,” Guardian, March 12, 1996.
“Anya Gallaccio,” Independent, February 6, 1996.
“Anya Gallaccio.” Ryusei Ikebana no. 439 (November 1996): 16-18.
Archer, Michael. “Installation Art.” Unesco Courier 49, no. 12 (December 1996): 30-33.
Archer, Michael. “No Politics Please.” Art Monthly, no. 194 (March 1996): 11.
Archer, Michael. “Reconsidering Conceptual Art.” Art Monthly, no. 193 (February 1996): 12-16.
Bickers, Patricia. “Les Nouveaux Diables (The Young Devils).” Art press, no. 214 (June 1996): 29-31.
Bickers, Patricia. “Meltdown.” Art Monthly, no. 195 (April 1996): 3-8.
Cork, Richard. “Meltdown at the Cube Station,” Times (London), February 20, 1996.
Currah, Mark. “The Pleasure of Aesthetic Life,” Time Out (London), November 13-20, 1996.
Gale, Ian. “Critics Choice,” Independent, February 10, 1996.
Gayford, Martin. “A Big Chill in Wapping,” Daily Telegraph, March 6, 1996.
Glancey, Jonathan. “Frozen, but Moving,” Independent, February 13, 1996.
Griese, Hort. “Die Galerie im KunstlerHaus Bremen.” Aktuelle Kunst, no. 3 (December 1996): 4.
Gritten, David. “Meltdown Fear at Cubist Show,” Telegraph, February 3, 1996.
Hall, James. “Anya Gallaccio,” Guardian Guide, February 3, 1996.
Hall, James. “Towers of London.” Artforum 34, no. 10 (Summer 1996): 31-33.
Harris, Mark. “British Avant-Garde Art and Advertising.” Art Monthly, no. 193 (February 1996): 3-6.
“Ice Maiden,” Londoner’s Diary, January 24, 1996.
Kent, Sarah. “Anya Gallaccio,” Time Out (London), February 14-21, 1996.
Lee, David. “Profile: Anya Gallaccio.” ArtReview, no. 46 (April 1996): 10-14.
Macmillan, Duncan. “Shock Tactics,” Scotsman, February 26, 1996.
Macmillan, Ian. “The British Art Show.” Modern Painters 9, no. 2 (1996): 94-96.
“Melting Pot.” Architects’ Journal, February 15, 1996.
Moore, Suzanne. “Masters and Mistresses,” Independent, November 29, 1996.
Searle, Adrian. “The Ice Maiden Cometh,” Guardian, February 13, 1996.
“The Heat Is On For Ice Block Sculpture,” East London Advertiser, February 29, 1996.
“Visible Cities.” Blueprint (March 1996): 50.
“Anya Gallaccio.” Live Art (October-December 1995).
Brighton, Andrew. “Anya Gallaccio.” Untitled (Summer 1995).
Buttfield, Brett. “With & Excess,” D.B. Magazine (1995).
Clark, Robert. “Admitting to Uncertainty.” Buzz (December-January, 1995-1996).
Clark, Robert. “Preview Gallaccio and Wilding,” Guardian, October, 1995.
Cork, Richard. “Choice,” Times (London), July 1, 1995.
De Vries, Marina. “Sfeer Van Vervlogen Tijden,” Parool, March 3, 1995.
Feaver, William. “Where There’s a Wilt,” Observer Review, November 19, 1995.
Gayford, Martin. “Youth, Formaldehyde and the Spirit of the Age,” Daily Telegraph, Nov 16, 1996.
Godfrey, Tony. “Anya Gallaccio at Stephen Friedman, London.” Art in America 83, no. 12 (December 1995): 101.
Hall, Charles. “Resounding Success,” Times (London), November 14, 1995.
Hall, James. “Butterfly Ball,” Guardian, November 14, 1995.
Januszczak, Waldemar. “Absent Trends,” Sunday Times (London), Nov 9, 1995.
Kent, Sarah. “Anya Gallaccio,” Time Out (London), June 21, 1995.
Kent, Sarah. “Catching Clouds,” Time Out (London), August 23-30, 1995.
Kurzmeyer, Roman. “Anya Gallaccio.” (August-September 1995): 50-57.
“London Preview.” The Art Newspaper (July-August 1995): 39.
McKenzie, Robyn. “Wit and Grit by Young Brits,” Age (Australia), May 3, 1995.
Neylon, John. “Fun and Games,” Adelaide Review, April 1995.
“Pick of the Week,” Independent, November 28, 1995.
“Pick of the Week,” Independent, October 10, 1995.
Steenbergen, Renée. “House & Garden,” MRC, March 10, 1995.
Stephen, Mark. “We Could Dance…and Play Interpretative Games.” Broadsheet 24 (1995).
Turpin, Adrian. “You’ll Find the Dead Flowers on the First Floor, Madam,” Independent Weekend, November 25, 1995.
Vogel, Carol. “Inside Art,” New York Times, June 30, 1995.
Worsdale, Godfrey. “Anya Gallaccio.” Art Monthly, no. 188 (July 1995): 38.
Alberge, Dalya. “Tasty Art Exhibit Doomed to Rot,” Independent, January 13, 1994.
“Anya Gallaccio at Karsten Schubert,” London Evening Standard Magazine, January 21, 1994.
Chapman, Jake and David Falconer. “Anya Gallaccio.” Frieze, no. 15 (March-April 1994): 53-54.
Choon, Angela. “Rebels of the Realm.” Art and Antiques (April 1994): 56-63.
Collings, Matthew. “Please Taste the Art,” Daily Express, January 21, 1994.
De Dominicis, Daniela. “Anya Gallaccio.” Flash Art 27, no. 176 (June 1994): 61.
Gropp, Rosa-Maria. “Dabaeisein Ist Alles,” Frankenfurter Allgemeine, June 19, 1994.
Hall, James. “Anya Gallaccio at Karsten Schubert,” London Evening Standard Magazine, January 21, 1994.
Herbert, Susannah. “And All Because the Lady Loves a Room Full of Chocolate,” Daily Telegraph, January 13, 1994.
Hofleitner, Johanna. “Anya Gallaccio, Galerie Krizinger.” Blocknotes Magazine (June 1994): 92.
Jarmusch, Ann. “Artists Plunge into Binational Psyche,” Union Tribune (San Diego), September 23, 1994.
Johnson, Richard. “A Load of Old Rot,” Observer, June 12, 1994.
Kent, Sarah. “The Best Art of 1994,” Time Out (London), December 1994.
Liebs, Holger. “Punishment and Decoration.” Texte zur Kunst (April 1994): 175-177.
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MacSweeney, Eve. “Hot Chocolate.” Vogue (United Kingdom), (August 1994): 32-33.
Muller, Hans-Joachim. “Funf Tage, die eine Atadt Varandert Haben,” Basler Magazine, June 18, 1994.
Paglia, Camille. “Sex, Art and Selling,” Guardian, January 22, 1994.
Sewell, Brian. “Wall to Wall Gibberish,” Evening Standard, January 27, 1994.
Shone, Richard. “Anya Gallaccio,” Burlington Magazine, March 1994, 191.
Smolik, Noemi. “Punishment and Decoration,” Kunstforum International (July-September 1994): 360-361.
Spinelli, Claudia. “Basel(…).” Kunst-Bulletin (May 1994): 43-44.
Stringer, Robin. “Anya’s Wall of Chocolate(…),” Evening Standard, January 12, 1994.
Tamashige, Sachiko. “Up and Coming London Art Scene.” BT Magazine (May 1994): 15-118.
Vitese, Angela. “Domestic Violence.” Flash Art (September 1994): 94.
Alberge, Dalya. “All Quiet On the Modern Front,” Independent, June 1, 1993.
Bernard, Kate. “Tempera Fugit.” Harpers and Queen Magazine (March 1993): 194.
Cutajar, Mario. “Passing through the LA International Invitational.” Artweek (Los Angeles), April 8, 1993.
Feaver, William. “What Goes Around Comes Around, Yet Again,” Observer, February 28, 1993.
Harvey, William. “‘Sweet Home,’ South London Art Gallery.” Untitled (April 1993): 12.
Jolles, Claudia. “Anya Gallaccio.” Artforum 32, no. 4 (December 1993): 90-91.
Kandel, Susan. “‘A Meditation’, Anya Gallaccio at Kim Light,” Los Angeles Times, March 27, 1993.
Kent, Sarah. “Outside Favourites,” Time Out (London), October 13, 1993.
Kent, Sarah. “‘Sweet Home,’ South London Art Gallery,” Time Out (London), March. 3-10, 1993.
Krumpl, Doris. “Scharfer Zoom auf Kunst-Forsatz,” Standard, June 29, 1993.
Leturcq, Armelle. “Anya Gallaccio, Perishable to Perilous.” Blocknotes Magazine (July 1993): 26-29.
Lubbock, Tom. “An Unnatural Device,” Independent, July 13, 1993.
McArthur, Euan. “Richard Deacon/Twelve British Artists.” Art Monthly, no. 162 (December-January, 1992-1993): 22.
Renton, Andrew. “Spirit of the Times.” Vivid, no. 2 (1993): 87-88.
Romano, Gianni. “Une Novelle Generation?.” Opus International Magazine (Winter 1993): 50.
Rugoff, Ralph. “Sex Objects,” LA Weekly, April 2-8, 1993.
Sitriffer, Kristian. “Ausestellt in Wien,” Presse (Vienna), June 25, 1993.
Turine, Roger Pierre. “Evenment Dans un Jardin Vierge,” Libre Belgique, September 22, 1993.
Wilson, Andrew. “Between Beauty and Loss,” Forum International (May-August 1993): 121-123.
Alberge, Daly. “Idea With Roots in the Potting Shed,” Independent, April 6, 1992.
Bonami, Francesco. “Young British Artists.” Flash Art International 25, no. 167 (November 1992): 87.
Bourriaud, Nicolas. “The Work of Art in the Age of Ecological Recycling,” Flash Art International 25, no. 167 (November 1992): 60-63.
Braem, Philippe. “With Attitude,” British Council, September, 1992.
Brayer, Marie-Ange. “Young British Artists.” Art and Antiques (December 1992): 82.
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Corris, Michael. “British? Young? Invisible? With Attitude.” Artforum International 30, no. 9 (May 1992): 106-111.
Deho, Valerio. “L’arte dei Giovani Ritorno al Futuro,” Di Pug e Lucania, September 12, 1992.
El Beblawi, Nadia. “Quand Art Veut Interroger Líactualite Mèdiatique,” Courrier, November 14, 1992.
Gillick, Liam. “Les Films Ridicules de James Stewart.” Documents Sur l’Art Contemporian (March 1992): 36-41.
Gillick, Liam. “Listes et Divers Defines en Termes de Pourcentage.” Art et Culture (November 1992): 14-15.
Guha, Tania. “Reviews/Exhibitions,” City Limits (London), August 13-20, 1992.
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Lambrecht, Luk. “Stijl e Karakter: Jonge Kunst uit Groot-Brittanie,” Do Morgen, Nov 5, 1992.
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“Meesters van het Morbide.” Witte Raaf (November 1992).
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“Oh You Pretty Things–The Loss of The Goldsmiths Touch.” Casablanca Magazine (October 1992): 24-25.
Rugoff, Ralph. “Dark Art.” Vogue (American), (September 1992): 18-19.
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“A New Internationalism.” Frieze, no. 1 (Summer 1991): 16.
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Kent, Sarah. “Broken English,” Time Out (London), August 14-21, 1991.
Lillington, David. “7 of Arts: Art at Olympia,” Time Out (London), April 17-24, 1991.
Lillington, David. “Museum of Installation Site 3,” Time Out (London), June 19-26, 1991.
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“Oranges Are Not the Only Fruit.” Fresh 2, no. 3 (July 1991): 10.
Packer, William. “The Diminishing Value of Novelty,” Financial Times, August 6, 1991.
“Pure Gold(smiths),” New Statement and Society, August 2, 1991.
“Review,” Independent, August 13, 1991.
Stock, Jon. “Acclaim for the Class of 88,” Daily Telegraph, August 29, 1991.
Tamachike, Sachiko. “Anya Gallaccio at Karsten Schubert Ltd.” Nikkei Art (December 1991).
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Brooks, Liz. “East Country Yard Show.” Artscribe (September-October 1990): 83.
Cornall, John. “East Country Yard Show,” City Limits (London), June 28, 1990.
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White, Tony. “East Country Yard Show.” Performance (October 1990): 61-62.
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Bulloch, Angela. “Freeze.” Art and Design 5, no. 3-4 (January 1989): 52-53.
Currah, Mark. The Drum Show, City Limits (London), 1989.
Currah, Mark. “The Goldrush,” City Limits (London), November 23-30, 1989.
Dorment, Richard. “Dangerous Art of Stage Design,” Daily Telegraph, November 7, 1989.
“New Year Talent,” Guardian, January 24, 1989.
“New Year Talent,” Independent, January 24, 1989.
Craddock, Sasha. “Freeze, The Fast Dockland Train to Simplicity,” Guardian, September 13, 1988.
MacDonald, Robert. “Freeze,” Time Out (London), 1988.
Audio/Video Interviews, Podcasts
Private view with Adrian Serle–Anya Gallaccio, The Guardian Culture Podcast, London, UK
Woman's Hour, BBC4, London, UK
Woman's Hour, BBC4, London, UK
Artist's Talk, in conversation with critic/broadcaster Tim Marlow, Tate Britain, London, UK
Residencies and Awards
Shortlisted Artist, Enel Contemporanea Award, Museum of Contemporary Art, Rome, Italy
Artist in Residence, Denniston Hill Arts, Woodridge, New York
Artist In Residence, Montalvo Arts Center, Saratoga, Califorina
The Pink List, “101 Most Influential Gay Britons,” Independent, London
International Artist in Residence, Headlands Center for the Arts, Sausalito, CA
1871 Fellowship, Rothemere American Institute, Oxford University, Oxford, UK and San Francisco Art Institute, CA
Kanazawa College of Art, Kanazawa, Japan
Paul Hamlyn Award for Visual Artists, Paul Hamlyn Foundation Award, London, UK
Sargeant Fellowship, The British School at Rome, Italy
Art Pace, International Artist-In-Residence Programme, Foundation for Contemporary Art, San Antonio TX
Arts Council, London, UK
The British Council Collection, London, UK
Museum of Contemporary Art, Sydney, Australia
Houghton Hall, Norfolk, UK
Paisley Museum and Art Gallery, Scotland, UK
Seattle Art Museum, Seattle, WA
South London Gallery, London, UK
Tate Britain, London, UK
Towner Art Gallery, Eastbourne, UK
Victoria and Albert Museum, London, UK