Born 1942, Washington, D.C, USA.
Lives and works in Santa Monica, California, USA.

Selected Press

Mousse, December 2016- January 2017

Mousse, 2012

Education

  • 1965

    UCLA, California, Los Angeles, work toward M.F.A. Motion Picture Division, Theatre Arts

  • 1964-65

    University of Southern California, Los Angeles, California, work toward M.A. Cinema

  • 1960-64

    Harvard College, Cambridge, Massachusetts, A.B. in Fine Arts: specialisation in the History of 19th and 20th Century Art

Solo Exhibitions and Screenings

  • (C) denotes that a catalogue was published in conjunction with the exhibition.

  • 2018

    Passing Time, REDCAT, Los Angeles, California, USA
    Another Movie, solo screening as part of Avant-Garde Film Scores, 1955–1973, The Museum of Modern Art, NY, USA

  • 2016

    Screening Room, Bortolomi, New York, USA
    Optical Space, screening as a part of Dreamlands: Immersive Cinema and Art, 1905–2016, Whitney Museum, New York, US

  • 2015

    Negative Film Boxes, Bortolami, New York, USA

  • 2014

    Past Present, Present Past, Maureen Paley, London, UK
    Interior and Exterior Color Beauty, International Art Objects, Los Angeles, California, USA

  • 2013

    Interior Color Beauty, Bortolami, New York, USA
    Maureen Paley, London, UK

  • 2012

    Morgan Fisher: Conversations, curated by Jacob Proctor, Aspen Art Museum, Colorado, USA
    Morgan Fisher: The Frame and Beyond, curated by Sabine Folie and Ilse Lafer Generali Foundation, Vienna, Austria (C)
    FilmForum, International Film Studies Conference, MAGIS— International Film Studies Spring School, Udine/Gorizia, Italy
    Morgan Fisher, in the series Atelier Impopulaire, curated by Giulio Bursi and Pia Bolognesi, Milan, Italy
    Morgan Fisher, in the series In Person, Austrian Film Museum, Vienna, Austria

  • 2011

    Morgan Fisher: Films and Paintings and In Between and Nearby, curated by Alex Sainsbury, Raven Row, London, UK
    Morgan Fisher, New Work: Photographs and Works on Paper, Bortolami Gallery, New York, USA
    Morgan Fisher –Translations, curated by Susanne Titz, Museum Abteiberg, Mönchengladbach, Germany (C)
    Modelo estándar: El Cine de Morgan Fisher, Xcèntric Cinema – Centre de Cultura Contemporània de Barcelona (CCCB), Spain
    An Evening with Morgan Fisher, Nottingham Contemporary, Nottingham, UK
    Morgan Fisher Presents, Harvard Film Archive, Harvard University, Cambridge, USA
    Morgan Fisher, in the series Talking Film, curated by Ann Goldstein, Stedelijk Museum, presented at Smart Project Space, Amsterdam, Netherlands
    Morgan Fisher, Werkvortrag, Filmhaus Nürnberg im KunstKulturQuartier, Nuremberg, Germany

  • 2010

    Missing – An Evening with Morgan Fisher, Piet Zwart Institute, Rotterdam, Netherlands Works on Paper 1968-2008, Galerie Daniel Buchholz, Cologne, Germany
    Projections on Art, program of films presented by Shahryar Nashat, curated by Silberkuppe in conjunction with Old Ideas, Kunstmuseum Basel, Museum für Gegenwartskunst, Basel, Switzerland
    Kill Your Timid Notion 2010, curated by Silberkuppe, Dundee Contemporary Arts, Dundee, Scotland

  • 2009

    Portikus Looks at Itself, Portikus, Frankfurt, Germany
    Independent Film Show, curated by María Palacios Cruz and Stoffel Debuysere, Fondazione Morra, Naples, Italy (C)
    Fisher Films, in Size Matters, in Signals, curated by Edwin Carels, 38th International Film Festival Rotterdam, Netherlands (C)

  • 2008

    Alien Pendant Pair Paintings, China Art Objects Galleries, Los Angeles
    Art Unlimited, Galerie Daniel Buchholz, Art Basel, Basel

  • 2007

    Pendant Pair Paintings, Galerie Daniel Buchholz, Cologne, Germany
    École Nationale des Beaux-Arts, Lyon, France

  • 2006

    Standard Gauge: Film Works by Morgan Fisher, 1968–2003, curated by Chrissie Iles, Museum of Contemporary Art (MOCA), Los Angeles, USA

  • 2005

    Edge and Corner Paintings, Adamski Galerie, Aachen, Germany
    Standard Gauge: Film Works by Morgan Fisher, 1968–2003, touring; Tate Modern, London, UK, Whitney Museum of American Art
    Scratched Aspect Ratio Pieces, China Art Objects Galleries, Los Angeles, USA

  • 2004

    Film Cans and Film Boxes, ( ), Galerie Daniel Buchholz, Cologne, Germany
    Cubitt, London, UK
    Filmforum, Los Angeles, USA
    Städelschule, Frankfurt, Germany
    Aspect Ratio Pieces, ( ), Greene Naftali, New York, USA

  • 2002

    To See Seeing, curated by Susanne Titz, Neuer Aachener Kunstverein, Aachen, Germany
    The Italian Paintings, Self-Portraits, China Art Objects Galleries, Los Angeles
    Photogenic Drawings, Color Balance, Galerie Daniel Buchholz, Cologne, Germany
    Pacific Title and Art Studio, Hollywood; presented by China Art Objects Galleries, Los Angeles, USA

  • 2000

    Morgan Fisher (Ich-Maschine), curated by Stephan Schmidt-Wulffen, Kunstverein in Hamburg, Hamburg, Germany
    The Italian Paintings, presented by Dave Muller/Three Day Weekend, in “Made in California: Now,” Los Angeles County Museum of Art , Los Angeles, USA

  • 1998

    Künstlerhaus Stuttgart, Germany
    Merz Akademie, Stuttgart, Germany
    Galerie Daniel Buchholz, Cologne, Germany
    Städelschule, Frankfurt, Germany
    Austrian Film Museum, Vienna, Austria

  • 1996

    Art Department, University of California at Riverside, USA

  • 1989

    University of Rochester, in the series “The New Avant-Garde”, Rochester

  • 1986

    IInternational Forum of Young Cinema, Berlin International Film Festival, Berlin, Germany
    Art Center College of Design, Pasadena, Los Angeles, USA
    Ohio State University, Columbus, Ohio, USA

  • 1985

    San Francisco Cinematheque, CA, USA The Collective for Living Cinema, New York, USA
    Pacific Film Archive, Berkeley, USA

  • 1981

    Color Balance, Multidisciplinary Exhibition Program. P.S.1, New York, USA

  • 1980

    Philadelphia College of Art, USA
    Media Study/Buffalo, USA Color Balance, Media Study/Buffalo, Buffalo, New York, USA

  • 1979

    Boston Film/Video Foundation, USA
    Art Program, School of Art, California Institute of the Arts, USA
    Department of Photography and Film, Ohio State University, USA

  • 1978

    Contemporary Art Survey, Art Department, UCLA
    College of Creative Studies, University of California at Santa Barbara, USA
    Department of Visual Arts, University of California at San Diego, USA
    Collective for Living Cinema, New York, USA

  • 1977

    Otis Art Institute, Los Angeles, USA

  • 1976

    Museum of Art, Carnegie Institute, Pittsburgh, USA
    Albright-Knox Art Gallery, Buffalo, USA
    San Francisco Museum of Art, USA
    Anthology Film Archives, New York, USA
    Museum of Modern Art, New York, USA

  • 1975

    Pacific Film Archive, Berkeley, USA
    San Francisco Art Institute, USA
    The Very Eye of Light; A Primer in the Experimental Film, Pacific Cinematheque in collaboration with the Vancouver Art Gallery, Vancouver, British Columbia, Canada
    Canyon Cinematheque, San Francisco, USA

  • 1974

    Pratt Institute, Brooklyn

  • 1973

    Millennium Film Workshop, New York
    School of the Art Institute, Chicago
    Independent Film Festival, National Film Theater, London

  • 1972

    Independent Film Festival, National Film Theater, London

  • 1970

    Department of Theater Arts, UCLA, Los Angeles

Selected Group Exhibitions

  • (C) denotes that a catalogue was published in conjunction with the exhibition.

  • 2018

    Berlinale Film Festival, Berlin, Germany
    Class Reunion: Works from the Gaby and Wilhelm Schürmann Collection, mumok, Vienna, Austria

  • 2017

    Truth: 24 frames per second, Dallas Museum of Art, Texas, USA (C)
    in awe, Kunsthalle Exnergasse, Vienna, Austria
    Picture Industry, Hessel Museum of Art, Annandale-On-Hudson, NY, curated by Walead Beshty
    Portikus XXX, Portikus, Frankfurt am Main, Germany, curated by Franz Hempel & Fabian Schöneich

  • 2016

    Ordinary Pictures, Walker Art Center, Minneapolis, MN USA
    Apparitions: Frottages and Rubbings from 1860 to Now, Hammer Museum, Los Angeles, USA

  • 2015

    America is hard to See, Whitney Museum, New York, USA
    Apparitions: Frottages and Rubbings from 1860 to Now, Hammer Museum, Los Angeles, USA; touring to The Menil Collection, Houston, USA

  • 2014

    A Machinery for Living, organized by Walead Beshty, Petzel Gallery, New York, USA
    Pleasing Artists And Publics Since 1963, ICA, Institute of Contemporary Art, University of Pennsylvania, Philadelphia, USA
    Whitney Biennial, Whitney Museum of American Art, New York, USA
    Propaganda für die Wirklichkeit, Museum Morsbroich, Leverkusen, Germany

  • 2013

    Against Method, Generali Foundation, Vienna
    State of Mind: New California Art circa 1970, touring: Bronx Museum of the Arts (BxMA), New York, Smart Museum of Art, Chicago
    The Content of Form, Generali Foundation, Vienna
    Super 8, Museu de Arte Moderna, Rio de Janeiro, Brazil
    T.J. Wilcox: In the Air, Whitney Museum of American Art, New York

  • 2012

    Perfect, International Art Objects Galleries (formerly China Art Objects Galleries), Los Angeles
    Stand still like a hummingbird, David Zwirner, New York
    Made in L.A. 2012, Hammer Museum, LAXART, and the Department of Cultural Affairs’ Los Angeles Municipal Art Gallery at Barnsdall Park, Los Angeles; curated by Anne Ellegood, Lauri Firstenberg, Malik Gaines, Cesar Garcia, and Ali Subotnick; catalogue
    Shelf Life, Kunsthalle am Hamburger Platz, Berlin
; curated by Nicole Cohen
    The Ball of Artists, closing event for the Pacific Standard Time
    Performance and Public Art Festival; part of Pacific Standard Time: Art in L.A. 1945-1980; organized by LAXART and the Getty Research Institute, Los Angeles
    Drawing a Blank (On Forgetting, Refusal, Censure and Impotence), David Kordansky Gallery, Los Angeles; curated by Matthew Brannon and Jan Tumlir

  • 2011

    The Emergence of Things, Artefact Festival, STUK Arts Centre, Louvain; curated by Pieter-Paul Mortier (brochure)
    The Unfinished Film, Gladstone Gallery, New York; curated by Thomas Beard
    Super 8, Christopher Grimes Gallery, Santa Monica; Yerba Buena
    Center for the Arts, San Francisco (2012); Künstlerhaus Bethanien, Berlin (2012); Museu de Arte Moderna, Rio de Janeiro (2013); curated by Marco Brambilla
    Lonely at the Top: Graphology, Chapter 4, Museum van Hedendaagse Kunst Antwerpen (MuHKA), Antwerp; curated by Edwin Carels
    Quodlibet III – Alphabets and Instruments, Galerie Daniel Buchholz, Berlin
    State of Mind; New California Art Circa 1970, organized by Orange
    County Museum of Art and University of California Berkeley Art Museum and Pacific Film Archive; part of Pacific Standard Time: Art in L.A. 1945–1980; Orange County Museum of Art (2011); University of California Berkeley Art Museum and Pacific Film Archive, Berkeley (2012); Morris and Helen Belkin Art Gallery, Vancouver (2012); SITE Santa Fe, Santa Fe (2013); The Bronx Museum of the Arts, New York (2013); curated by Constance M. Lewallen and Karen Moss (C)
    Locus Solus: Impressions of Raymond Roussel, Museo Nacional Centro de Arte Reina Sofía, Madrid; Museu de Arte Contemporânea de Serralves, Porto (2012); curated by François Piron and João Fernandes (C)
    Objektiv, haubrokshows, Berlin
    Announce, part of Pacific Standard Time: Art in L.A. 1945–1980; Thomas Solomon, Los Angeles

  • 2010

    De Rigueur, Richard Telles Gallery, Los Angeles; curated by Walead Beshty
    Monochrome Reflections, Sammlung Haubrok, Berlin
    Alchemy Box, Maison d’Art Bernard Anthonioz, Nogent-sur Marne; curated by Christophe Gallois (C)
    Sunless (Journeys in Alta California since 1933), Thomas Dane Gallery, London; curated by Walead Beshty
    Taking Place, Stedelijk Museum, Amsterdam; curated by Ann Goldstein
    Rogalski, Sammlung Haubrok
    The Inauguration of China Art Objects in Culver City, China Art Objects Galleries
    The Artist’s Museum; Los Angeles Artists 1980–2010, MOCA; curated by Rebecca Morse
    I Have a Light, S1F Gallery, Los Angeles

  • 2009

    Aspect Ratio, TENT, section of “Size Matters,” Rotterdam International Film Festival, Rotterdam; curated by Edwin Carels
    Protective Coloration, Center for Curatorial Studies, Bard College, Annandale-on-Hudson; curated by Niko Vicario
    See This Sound, Lentos Kunstmuseum Linz, Linz
    Quodlibet II, Galerie Daniel Buchholz, Cologne
    38th International Film Festival Rotterdam, Rotterdam
    Fax, The Drawing Center, New York
    1999, China Art Objects Gallery, Los Angeles
    Restoring the Los Angeles Avant-Garde, La Filmforum, Los Angeles
    Collecting History: Highlighting Recent Acquisitions, Museum of Contemporary Art, Los Angeles; curated by Bennett Simpson
    Daily Film Program in conjunction with See This Sound; Promises in Sound and Vision, Lentos
    Kunstmuseum Linz, Linz, Austria (catalogue); curated by Cosima Rainer
    Artists’ Cinema, in conjunction with “But what of Frances Stark, standing by itself, a naked name, bare as a ghost to whom one would like to lend a sheet?” and “David Hockney, 1960–1968: A Marriage of Styles,” Nottingham Contemporary, Nottingham; curated by Alex Farquharson

  • 2008

    Neutre Intense-Mitim, Maison populaire-Centre d’art Mira Phalaina, Montreuil
    You, Whose Beauty Was Famous in Rome, Mandarin Gallery, Los Angeles
    To Square Light, Signal – Center for Contemporary Art, Malmö, Sweden
    Zuordnungsprobleme, Johann König, Berlin
    Standard Sizes, Andrew Kreps Gallery, New York
    Please Stay Out, We’re Open, Redling Fine Art, Los Angeles
    Haubroksshow, Sammlung Haubrok, Berlin
    Neutre Intense-( ), Carl Freedman Gallery, London
    Index: Conceptualism in California from the Permanent Collection, Museum of Contemporary Art, Los Angeles; curated by Phillip Kaiser and Corrina Peipon
    California Biennial, Orange County Museum of Art, Newport Beach (catalogue); curated by Lauri Firstenberg

  • 2007

    Internationale Kurzfilmtage Oberhausen, Oberhausen
    Monochrome Painting, Cardwell Jimmerson, Culver City

  • 2006

    Galerie Daniel Buchholz Cologne at Metro Pictures, Metro Pictures, New York
    Los Angeles 1955-1985, Centre Pompidou, Paris
    Program of films presented by Christopher Williams as an artist in the Whitney Biennial, Whitney Museum of American Art, New York
    Blows into Microphone, Kunsthalle Exnergasse, Vienna (catalogue); curated by Achim Lengerer; presented at Wiener Votivkino, Vienna; later presented at the Deutsches Filmmuseum, Frankfurt
    The Artists Cinema, Frieze Art Fair, Regent’s Park, London
    Expanded Cinema I, film program curated by Patrick Huber and Fred Truniger in conjunction with the show The Expanded Eye, curated by Bice Curiger, Kunsthaus Zürich, Zürich
    Bunch Alliance and Dissolve, Contemporary Arts Center, Cincinnati (publication); curated by Public-Holiday Project

  • 2005

    Beside the Dream Machine, Museum Moderner Kunst, Vienna
    A Walk to Remember, LACE (Los Angeles Contemporary Exhibitions), Los Angeles (catalogue); curated by Jens Hoffman
    Old News, LACE, Los Angeles; curated by Jacob Fabricius
    Gallery exchange, China Art Objects Galleries and Bowie Van Valen, Amsterdam
    Bienal de Lisboa, Lisbon; curated by Ricardo Matos Cabo

  • 2004

    Whitney Biennial, Whitney Museum of American Art, New York

  • 2003

    Turbulent Screen, Edith-Ruß-Haus für Medienkunst, Oldenburg
    Fate of Alien Modes, Secession, Vienna
    Morgan Fisher and Mason Cooley, China Art Objects Galleries, Los Angeles
    Sandwiched, Los Angeles; curated by Jacob Fabricius
    Conceptualisms: Zeitgenössische Tendenzen in Musik, Kunst und Film, Akademie der Künste, Berlin; curated by Christoph Metzger

  • 2002

    Sie träumt von ihrem Lieblingsstar. Er spricht mit einer fremden Sprache.
    Vier Räume aus der Sammlung Schürmann, Sammlung Schürmann, K21 Kunstsammlung im Ständehaus, Düsseldorf
    Morgan Fisher, Tomma Abts, Leica Dole-Recio, James Hayward, curated by Richard Hawkins, Galerie Daniel Buchholz, Cologne
    A Show That Will Show That a Show Is Not Only a Show, The Project, Los Angeles (catalogue); curated by Jens Hoffman

  • 2001

    Frances Stark meets Morgan Fisher, Klosterfelde, Berlin

  • 2000

    The Italian Paintings, Dave Muller/Three Day Weekend, in “Made in California: Now”, LACMA, Los Angeles
    Galerie Daniel Buchholz at Jürgen Becker, Hamburg
    Not Coming, Laemmle Grande Theaters, Los Angeles, produced by Side Street Projects

  • 1999

    Afterimage: Drawing Through Process, Museum of Contemporary Art, Los Angeles
    A History of European Cinema through Technical Evolution, Festival dei Popoli, Florence
    The American Century: Art and Culture 1950-2000; The Cool World: Film and
    Video in America 1950-2000, Whitney Museum of American Art, New York
    Thanks, visiting faculty show, School of Art, California Institute of the Arts

  • 1998

    Time Dilates, Dave Muller/Three Day Weekend, The Downtown Arts Festival, New York

  • 1997

    Threshold, Side Street Projects, Santa Monica

  • 1996

    Projections, AMC Old Pasadena Theaters, Pasadena, California, produced by Side
    Street Projects

  • 1995

    Inaugural Film Screening, ACME. Gallery, Santa Monica
    Reconsidering the Object of Art: 1965-1975, The Museum of Contemporary Art,
    Los Angeles (C)
    23 Short Films / 23 Film Posters, a show of and by Maria Eichhorn, Galerie Eva Presenhuber, Zürich

  • 1994

    Scratching the Belly of the Beast; Cutting-Edge Media in Los Angeles, 1922-1994,
    Filmforum, Los Angeles
    Detours, Side Street Projects, Santa Monica (group show), painting installation
    Color This!, Foundation for Art Resources, Los Angeles, 1994, coloring book with
    drawings by Los Angeles artists

  • 1993

    Fade to Black, Eldorado Centrum voor Beeldcultuur, Antwerpen
    Robert Flaherty Seminar, Ithaca, New York
    Stichting Amsterdams Filmhuis, Amsterdam

  • 1991

    Faculty show, School of Art, California Institute of the Arts

  • 1990

    Mostra internazionale del nuovo cinema, Pesaro, Italy, retrospective of American
    Independent Films of the 1980s
    Beyond Illusion: American Film and Video Art, 1965-1975, in conjunction with “The New
    Sculpture, 1965-1975: Between Geometry and Gesture, Whitney Museum of American Art
    Metamedia, in conjunction with “Image World: Art and Media Culture”, Whitney Museum of American Art

  • 1989

    What’s Wrong with These Pictures?, retrospective (with George Landow),
    The American Museum of the Moving Image, New York

  • 1988

    mot:dites, image, Musée National dʼArt Moderne, Centre Pompidou, Paris (C)
    Independent America; New Film 1978-1988, American Museum of the Moving Image, New York

  • 1987

    Text as Image, Pacific Film Archive

  • 1985

    Biennial Exhibition, Whitney Museum of American Art, New York (C)
    New York Film Festival

  • 1983

    Word Works, Walker Art Center, Minneapolis
    Film as Installation II, The Clocktower, New York

  • 1982

    Ten Years of Living Cinema, Collective for Living Cinema, New York (C)

  • 1981

    West Coast, Anthology Film Archives, New York (C)
    American and French Independent Cinema, Padiglione d’arte contemporanea/Cineteca italiana, Milan (C)
    P.S. 1, Long Island City, New York

  • 1980

    ’The Pleasure Dome’, American Experimental Film, 1939-1979, Moderna Museet, Stockholm

  • 1979

    The New West, curated by Jack Goldstein, The Kitchen, New York
    Re-Visions, Whitney Museum of American Art, New York (gallery leaflet); curated by John G. Hanhardt

  • 1978

    International Forum of Young Cinema, Berlin International Film Festival, curated by John G. Hanhardt
    Frameworks, Water Street Branch, Whitney Museum of American Art
    Artists’ Film, Artists Space, New York

  • 1977

    The Poetic Eye: Perspectives on the American Independent Film, 1923-1977,
    Los Angeles County Museum of Art
    Time, Philadelphia College of Art (C)
    The Moving Image/N.Y. State, Tour program organized by Gerald O”Grady
    Film Spaces, Art Gallery, Mount San Antonio College, Walnut Creek, California

  • 1976

    Text and Image, New American Filmmakers Series, Whitney Museum of American Art, New York
    Fisher/Serra/Shulman, New American Filmmakers Series, Whitney Museum of American Art, New York
    Neue Avantgardefilme aus den USA, Werkstattkino, Munich

  • 1975

    Stills, New American Filmmakers Series, Whitney Museum of American Art, New York Institute of Contemporary Art, London

  • 1974

    Thom Andersen / Morgan Fisher, Theatre Vanguard, Los Angeles

  • 1973

    Walker Art Center, Minneapolis
    Independent Film Festival, National Film Theatre, London

  • 1970

    Information, Museum of Modern Art, New York (C)
    North American Filmmakers: At Home and Abroad, Tour program organized by the Film Department, Museum of Modern Art

Selected Group Screenings

  • 2017

    la > x film festival, Haubrok Foundation, Berlin, Germany
    Other Uses, EMPAC, New York, USA

  • 2015

    Courtisane festival 2015: Notes on Cinema, Ghent, Belgium

  • 2012

    L’Art Devrait Être la Bande-Annonce du Futur …, in the cycle Cinéma Post-minimal, Centre Pompidou, Paris
    Tricky Poses and Taxing Conditions: Performance and Media, in Alternative Projections: Experimental Film in Los Angeles 1945–1980; part of Pacific Standard Time: Art in L.A. 1945–1980; Los Angeles Filmforum, Los Angeles

    Material Concerns, in Alternative Projections: Experimental Film in Los Angeles 1945–1980; part of Pacific Standard Time: Art in L.A. 1945–1980; Los Angeles Filmforum, Los Angeles

    Was ist Film, Peter Kubelka’s cyclical program of the history of film, Austrian Film Museum, Vienna
    Morgan Fisher et affinités électives, Centre Pompidou, Paris. Part of Morgan Fisher: Un cinéma hors-champ?, Université Paris 8 Vincennes–Saint-Denis, Institut national d’histoire de l’art, and Centre Pompidou, Paris
    Screening Room: Morgan Fisher Programme, NFT2, British Film Institute Southbank, London
, with the support of Raven Row, London.
    Bright Ideas: Conceptual Art Films, in Alternative Projections: Experimental Film in Los Angeles 1945–1980; part of Pacific Standard Time: Art in L.A. 1945–1980; Los Angeles Filmforum, Los Angeles
    Moving Pictures: Painting, Photography, Film, in Alternative Projections: Experimental Film in 
Los Angeles 1945–1980; part of Pacific Standard Time: Art in L.A. 1945–1980; Los Angeles Filmforum, Los Angeles; presented at Echo Park Film Center
    The Alternative Projections Marathon!, in Alternative Projections: Experimental Film in Los Angeles 1945–1980; part of Pacific Standard Time: Art in L.A. 1945–1980; Los Angeles Filmforum, Los Angeles; presented at Echo Park Film Center

  • 2011

    Industry Town: The Avant-Garde and Hollywood, in Alternative Projections: Experimental Film in
 Los Angeles 1945–1980; part of Pacific Standard Time: Art in L.A. 1945–1980; Los Angeles Filmforum, Los Angeles
    The Artist’s Institute, New York

  • 2010

    Standard Gauge + Hellzapoppin’, Light Industry, presented at PARTICIPANT INC, New York

  • 2009

    Aspect Ratio, Rotterdam International Film Festival, Rotterdam; curated by Edwin Carels
    Restoring the Los Angeles Avant-Garde: Thom Andersen and Morgan Fisher, Hammer Museum, UCLA, Los Angeles, co-presented with the UCLA Film and Television Archive and Los Angeles
    Filmforum; curated by Mark Toscano

  • 2008

    Los Angeles, in Paul McCarthy: Film List, a series of programs of films and videos curated by Paul McCarthy to accompany his one-person show at the Whitney Museum of American Art, New York
    Sunshine Noir in “Los Angeles: Eine Stadt im Film; A City on Film”; a retrospective of the Viennale and the Austrian Film Museum, Vienna (catalogue); curated by Thom Andersen

  • 2007

    Kinomuseum, Oberhausen International Short Film Festival, Oberhausen, Germany (publication)

  • 2006

    Expanded Cinema: Film als Spektakel, Ereignis und Performance, Hartware Medien Kunst Verein, Dortmund (program also presented at Württembergischer Kunstverein Stuttgart); curated by Mark Webber

  • 2005

    Edinburgh International Film Festival, Edinburgh
    Thom Andersen and Morgan Fisher, Galerie Daniel Buchholz, Cologne (presented at the Kölnischer Kunstverein, Cologne)

  • 2004

    Rotterdam International Film Festival, Rotterdam
    International Forum of Young Cinema, Berlin International Film Festival, Berlin
    The Robert Flaherty Film Seminar, New York
    Toronto International Film Festival, Toronto
    Athens International Film Festival, Athens
    London International Film Festival, London

  • 2003

    Turbulent Screen; Die strukturelle Bewegung in Film und Video, Edith-Ruß-Haus für
    Medienkunst, Oldenburg; curated by Rosanne Altstatt and Ralf Sausmikat
    Views from the Avant–Garde, New York Film Festival, New York; curated by Mark McElhatten and Gavin Smith

  • 2001

    Two Film Screenings Organized by Christopher Williams (Poster, Introductory Remarks and Film Screening) For the Exhibition, ‘In Between Art and Architecture’, Silver Screen Theater, Pacific
    Design Center/MAK Center for Art and Architecture, Los Angeles

  • 1999

    A History of European Cinema through Technical Evolution, Festival dei Popoli,
    Florence

  • 1995

    Inaugural film screening, ACME. Gallery, Santa Monica

  • 1994

    Scratching the Belly of the Beast; Cutting-Edge Media in Los Angeles, 1922-1994, Filmforum, Los Angeles (catalogue)

  • 1993

    Fade to Black, Eldorado Centrum voor Beeldcultuur, Antwerp
    The Robert Flaherty Film Seminar, New York
    Stichting Amsterdams Filmhuis, Amsterdam

  • 1992

    Unknown Territories: American Independent Film, presented by Sixpack Film at the Vienna Film Theatre, Vienna

  • 1990

    Mostra internazionale del nuovo cinema, Pesaro, Italy

  • 1989

    INPUT 88 (International Public Television screening conference), Philadelphia

  • 1976

    Neue Avantgardefilme aus den USA, Werkstattkino, Munich
    Institute of Contemporary Art, London

  • 1974

    Thom Andersen/Morgan Fisher, Theatre Vanguard, Los Angeles

  • 1973

    Walker Art Center, Minneapolis

  • 1969

    Oberhausen International Short Film Festival, Oberhausen

Interviews

  • 2014

    Gronlund, Melissa, Morgan Fisher: the man who wasn’t there, sight and sound magazine, bf.org, Updated, 3 March 2014

  • 2012

    Christopher Williams, The Rewards of Self-Repression, Mousse #33 (April–May 2012)

  • 2010

    Jean Philippe Antoine – Christophe Gallois, Conversation avec Morgan Fisher, 20/27; revue de texts critiques sur l’art, No. 4, m19, Paris, 2010.
    Melissa Gronlund, The Man Who Wasn’t There, http://www.bfi.org.uk/sightandsound/exclusive/morgan_fisher.php

  • 2009

    Stuart Comer, Voids: Interview with Morgan Fisher in Voids/Vides: A Retrospective of Empty Exhibitions, Gustav Metzger, Clive Phillpot, and Mai-Thu Perret, editors, JRP Ringier Kunstverlag AG, Zürich, 2009.

  • 2008

    William E. Jones, In Conversation with William E. Jones, 2008 California Biennial, Orange County Museum of Art, Newport Beach, 2008.

  • 2007

    Denise Mohnke, Interview mit Morgan Fisher, in Festivalmagazin, International Short Film Festival Oberhausen, May 2007.

  • 2001

    Frances Stark, All Things to All People; interviews by Frances Stark, Afterall, Issue 4, Autumn–Winter 2001.

  • 1988

    Scott MacDonald, A Critical Cinema; Interviews with Independent Filmmakers, University of California Press, Berkeley/Los Angeles/London, 1988; introduction and 1987 interview with MF.
    Scott MacDonald, Morgan Fisher: An Interview, Film Quarterly, Spring 1987.

Selected Writing, Lectures, Talks and Papers

  • 2017

    Morgan Fisher on The Apotheosis of Saint Ignatius by Andrea Pozzo, Mousse, Issue 61, pp193-194.

  • 2014

    LUX / MRes Public Lecture, Morgan Fisher: screening and conversation, LUX, London, 26 November 2014
    Art Center College of Design, Los Angeles Times Media Center, 25 March 2014.

  • 2013

    Morgan Fisher – Keynote Presentation, Who Is Jack Goldstein? 22 September 2013, Jewish Museum, New York.

  • 2012

    Notes on works in the exhibitions Morgan Fisher – Translations (Museum Abteiberg, Mönchengladbach, 2011)
    Morgan Fisher: Beyond the Frame, (Generali Foundation, Vienna, 2012)
    Morgan Fisher: Two Exhibitions, Sabine Folie and Susanne Titz, editors; exhibition catalogue; Vienna:
 Generali Foundation; Mönchengladbach: Museum Abteiberg; Cologne: Verlag der Buchhandlung Walther König, 2012.
    Untitled lecture, FilmForum, International Film Studies Conference, MAGIS—International Film Studies Spring School, Udine/Gorizia.
    Abstraction in Film, lecture at Nuova Accademia di Belle Arti, Milan.
    Abstraction in Film, lecture at Nuova Accademia di Belle Arti, Milan.
    An Introduction to Standard Gauge, Warburghiana, available online at http://www.warburghiana.it/index.php?&qy=em9uZT0xNyZpZD0xMjA2 (accessed February 23, 2013).
    Screening Room as a Modernist Film, lecture at the Austrian Film Museum, Vienna.
    Painting for Beginners, lecture in conjunction with the exhibition Morgan Fisher: The Frame and Beyond, Generali Foundation, Vienna.
    Morgan Fisher: Writings, Sabine Folie and Susanne Titz, editors; Vienna: Generali Foundation; Mönchengladbach: Museum Abteiberg; Cologne: Verlag der Buchhandlung Walther König, 2012.

  • 2011

    Untitled gallery talk in connection with the exhibition Blinky Palermo: Retrospective 1964–1977, Los Angeles County Museum of Art.
    Object Lessons, Artforum, Vol. XLIX, No. 7, March 2011.
    Untitled lecture about the paintings and installation work, Graduate Program, Otis College of Art and Design, Los Angeles
    Notes on the works in the exhibition “Morgan Fisher: Films and Paintings and In Between and Nearby,” in Morgan Fisher: Films and Paintings and In Between and Nearby, Sue Haddon, editor; exhibition guide; London: Raven Row, 2011.
    Untitled note in the section “Artists on L.A.,” Artforum, Vol. XXXXX, No. 2, October 2011.
    Untitled note in Tacita Dean: Film, Nicholas Cullinan, editor, Tate Gallery Publishing, London, 2011.
    Notes on the work in the exhibition “Morgan Fisher – Translations” in Morgan Fisher – Translations, Susanne Titz, editor; exhibition brochure; Mönchengladbach: Museum Abteiberg, 2011.

  • 2010

    Untitled lecture about the paintings, HISK (Hoger Instituut voor Schone Kunsten, Higher Institute for Fine Arts), Ghent.
    Untitled lecture about the paintings, Piet Zwart Institute, Rotterdam.
    Untitled lecture about the paintings, Graduate Program, Art Department, University of Southern California.
    Untitled lecture about the paintings and related work, Städelschule, Frankfurt.
    Untitled lecture about the paintings and related work in the Orange County Museum of Art/University of California Irvine lecture series, Orange County Museum of Art.
    Untitled lecture about the paintings and related work, Art Center College of Design.
    The Last Shot in Detour and Some Earlier Moments, Cinema Scope, Issue 38, Vol. 11, No. 1, Spring 2009; a revised and enlarged version of “An Afterword on the Last Shot in Detour,” published in Los Angeles: Eine Stadt im Film; A City on Film; Eine Retrospektive der Viennale (see under “2008” below).
    Program notes about Thom Andersen’s films in “Restoring the Los Angeles Avant-Garde: Thom Andersen and Morgan Fisher,” The Hammer Museum, UCLA; edited by Mark.

  • 2009

    Untitled lecture about the paintings and related work, Städelschule, Frankfurt.
    Untitled lecture about the paintings and related work in the Orange County Museum of Art/University of California Irvine lecture series, Orange County Museum of Art.
    Untitled lecture about the paintings and related work, Art Center College of Design.
    The Last Shot in Detour and Some Earlier Moments, Cinema Scope, Issue 38, Vol. 11, No. 1, Spring 2009; a revised and enlarged version of “An Afterword on the Last Shot in Detour,” published in Los Angeles: Eine Stadt im Film; A City on Film; Eine Retrospektive der Viennale (see under “2008” below).
    Program notes about Thom Andersen’s films in “Restoring the Los Angeles Avant-Garde: Thom Andersen and Morgan Fisher,” The Hammer Museum, UCLA; edited by Mark
    Toscano from notes for the screening presented by Galerie Daniel Buchholz (see under “2005” below); laser print-out.

  • 2008

    Screening Room and Death, Kinomuseum, Mike Sperlinger and Ian White, editors; Cologne: Walther König, 2008; revised version of lecture delivered at the 2007 Oberhausen International Short Film Festival (see under “2007” below).
    Standard Gauge in Three Parts and An Afterword on the Last Shot in Detour, Los Angeles: Eine Stadt im Film; A City on Film; Eine Retrospektive der Viennale, Astrid Ofner und Claudia Siefen, editors; exhibition catalogue; Vienna: Schüren Verlags, 2008; the note on Standard Gauge is the one published in Fate of Alien Modes (see under “2003” in “Selected Bibliography, Reviews, and Related” below), with the addition of a new section composed in 2008; the note on Detour was erroneously joined to the end of the note about Standard Gauge.
    Untitled gallery talk in connection with the exhibition “Lawrence Weiner: As Far as the Eye Can See,” Museum of Contemporary Art, Los Angeles.
    More Pendant Pair Paintings, gallery note for the exhibition at China Art Objects Galleries; laser print-out (this work was later titled Alien Pendant Pair Paintings).
    Tracing in Early Warhol, paper read as a member of the panel, Beauty and the Banal in the symposium “Andy Warhol: Outer and Inner Dichotomies,” presented by the Wexner Center, Cincinnati, in connection with the exhibition “Other Voices, Other Rooms,” curated by Eva Meyer-Hermann.
    Blinky Palermo in The Artists’ Artists; Artforum, Vol. XLVII, No. 4, December 2008.

  • 2007

    The Pendant Pair Paintings, gallery note for the exhibition at Galerie Daniel Buchholz: laser print-out.
    Untitled lecture about Screening Room in Kinomuseum, a section of the Oberhausen International Short Film Festival; curated by Ian White
    Untitled lecture about the paintings, Signal – Center for Contemporary Art, Malmö

  • 2006

    Untitled lecture about the paintings, Art Department, University of California at Riverside.
    Untitled introductory talk for the symposium Anticipating the Past: Artists: Archive: Film, Tate Modern; organized by the British Artists’ Film and Video Study Collection at Central Saint Martins College of Art and Design and LUX in association with Arts Council England, the British Film Institute, and Tate Modern.
    Where the Aspect Ratio Pieces Came From, gallery note for the exhibition Bunch Alliance and Dissolve, Center for Contemporary Art, Cincinnati; laser print-out.
    Why the Work and the Photographs of the Work Can’t Resemble Each Other, gallery note for the exhibition Bunch Alliance and Dissolve (included in the publication for the exhibition; see under “Selected Bibliography, Reviews, and Related” below); laser print-out.
    Untitled lecture about the paintings, Graduate Program, Art Department, University of Southern California.
    What to Do about Painting, Etc.; Projects arranged by Matt Keegan at Andrew Kreps Gallery, New York, 9/05–1/06, Matt Keegan, editor; exhibition and program catalogue; New York: Matt Keegan, 2006; transcript of lecture and discussion (see under “2005” below).

  • 2005

    Carl Andre und der Film, Text, Oktober 2005 (essay published in German; available in English at www.text-revue.de).
    Thom Andersen and Morgan Fisher, program note for films presented by Galerie Daniel Buchholz, Cologne; screening at Kölnischer Kunstverein; the note on ( ) is reprinted from the notes for the New York Film Festival (see under “2003” below); laser print-out.
    What to Do about Painting, Andrew Kreps Gallery, New York; lecture presented in Etc., a series of events organized by Matt Keegan.

  • 2004

    David Lieske’s Carse Arse, Formalismus: Moderne Kunst Heute, Yilmaz Dziewior, editor; exhibition catalogue; Hamburg: Kunstverein in Hamburg; Frankfurt: Revolver, 2004.
    ( ) and “Film Cans and Film Boxes,” gallery notes for the exhibition at Galerie Daniel Buchholz; xerox.
    Untitled lecture and screening presented by John G. Hanhardt, Senior Curator of Film and Media Arts, under the heading Meta-Cinematic Strategies in the series Constructing the Moving Image (An Archaeology): 1965–1975 in conjunction with Singular Forms (Sometimes Repeated): Art from 1951 to the Present, Solomon R. Guggenheim Museum.
    The Aspect Ratio Pieces and ( ), gallery notes for the exhibition at Greene Naftali Gallery; laser print-out.

  • 2003

    Guest speaker in the seminar Film and the Media Arts: Histories and Practices, conducted by John G. Hanhardt, Senior Curator of Film and Media Arts, Solomon R. Guggenheim Museum; Center for Curatorial Studies, Bard College.
    Documenta, a Show of Shows, The Next Documenta Should Be Curated by an Artist, Jens Hoffman, editor; Frankfurt: Revolver, 2003.
    Standard Gauge, Production Stills, “The Photogenic Drawings,” in Fate of Alien Modes, Constanze Ruhm et al., editors; exhibition catalogue; Vienna: Wiener Secession, 2003; the note on Standard Gauge is the one from which the fragment in Indipendenti USA, Charles Burnett, Stan Brakhage was excerpted (see under “1991” below); the note on Production Stills is reprinted from the gallery brochure for the film and video program accompanying “Afterimage: Drawing through Process” (see under “1999” below); the note on the Photogenic Drawings is the same as the gallery note for the exhibition at Galerie Daniel Buchholz (see under “2002” below).
    ( ), program note for “Views from the Avant-Garde,” New York Film Festival; http://filmlinc.com/archive/nyff/avantgarde2003mf.htm.

  • 2002

    No Painting As Usual: The Italian Paintings, The Self-Portraits, gallery notes for the exhibition at China Art Objects Galleries; the note on the Italian Paintings is an expanded version of the note for “Made in California: Now,” (see under “2000” below); xerox.
    Untitled essay in the form of an e-mail to Jens Hoffman about his curating of the show A Show That Will Show That a Show Is Not Only a Show, A Show That Will Show That a Show Is Not Only a Show, Jens Hoffman, editor; New York/Los Angeles: The Project; Paris/Berlin: Edition Valerio, 2002.
    Color Balance and Photogenic Drawings, gallery notes for the exhibition at Galerie Daniel Buchholz; the note on Color Balance is a revised version of the note in Film as Installation II (see under “1983” below); xerox.
    The H Pieces, in an untitled broadside published for the Cologne Art Fair; Los Angeles: China Art Objects Galleries, 2002.
    What Would Ad [Reinhardt] Say?, paper read as a member of the panel Neither Here Nor There, Santa Monica Museum of Art, presented in conjunction with the exhibition Art & Film in the Age of Anxiety: Selections from the 2002 Whitney Biennial.
    No Painting as Usual; Die italienischen Gemälde, Sie träumt von ihrem Lieblingsstar. Er spricht mit einer fremden Sprache. Vier Räume aus derSammlung Schürmann, Julian Heynen and Doris Krystof, editors; exhibition catalogue; Düsseldorf: Ständehaus K21, Kunstsammlung Nordrhein-Westfalen; Ostfildern–Ruit: Hatje Cantz Verlag, 2002; “The Italian Paintings” (see under “2002” above); in German.
    Talking with Jack Goldstein in Jack Goldstein, Lionel Bovier et al., editors; exhibition catalogue; Grenoble: Magasin, 2002; reprinted from LAICA Journal (see under “1977” below).

  • 2001

    The Wilkinson Household Fire Alarm, gallery note for Galerie Daniel Buchholz, Cologne Art Fair; xerox.
    Frances Stark Meets Morgan Fisher, lecture at the Arsenal Kino, Berlin, on the occasion of the exhibition of the same name at Klosterfelde.
    Frances Stark Meets Morgan Fisher, Nach dem Film, 12/01, the above lecture in a dossier that included the exchange with Frances Stark published in Afterall (see above) and an essay by Lena Kiessler; www.nachdemfilm.de, Home>Report>Projekte: Frances Stark meets Morgan Fisher.
    We Don’t Care if You’re Trespassing, 2000–2001Malmö Art Academy Yearbook, Gertrud Sandqvist, editor; Malmö: Malmö Art Academy, 2001; an expanded version of the lecture given at the conference “Borders” (see under “2000” below).

  • 2000

    No Painting As Usual; The Italian Paintings, gallery notes for paintings presented by Dave Muller/Three Day Weekend in Made in California: Now, Los Angeles County Museum of Art; xerox.
    We Don’t Care If You’re Trespassing, lecture at Borders, a seminar organized by the Malmö Art Academy and the Royal Danish Art Academy; Copenhagen.
    Painting for Beginners, lecture at Hochschule für Bildende Künste, Hamburg

  • 1999

    The Future of Painting, School of Art, California Institute of the Arts (abridged version of From Film to Painting: Size, Scale, Plane, Projection; see under “1998” below).
    Painting for Beginners, lecture at Art Center College of Design; revised version of The Future of Painting (see under “1999” above).
    Production Stills, gallery leaflet for the film and video program accompanying Afterimage: Drawing through Process, MOCA, Los Angeles, 1999.

  • 1998

    From Film to Painting: Size, Scale, Plane, Projection, lecture in two parts, Künstlerhaus Stuttgart.

  • 1996

    Untitled statement in Projections; Intermission Images, Karen Atkinson and Sylvia Bowyer, editors; exhibition catalogue; Pasadena: AMC Old Pasadena 8 Theaters; Santa Monica: Side Street Projects, 1996.

  • 1995

    Morgan Fisher: Script of Standard Gauge, Screen Writings: Scripts and Texts by Independent Filmmakers, Scott MacDonald, editor; Berkeley/Los Angeles/London: University of California Press, 1995.

  • 1994

    Missing the Boat, Scratching the Belly of the Beast; Cutting-Edge Media in Los Angeles, 1922-1994, Holly Willis, editor; film screening series catalogue; Los Angeles: Los Angeles Filmforum, 1994.

  • 1991

    Excerpt from an undated note on Standard Gauge in Indipendenti USA, Charles Burnett, Stan Brakhage, Francesco Bono, editor; Quaderno Informativo; Pesaro: XXVII Mostra Internazionale del Nuovo Cinema, 1991; in Italian.

  • 1989

    Re-Arranging Flowers, gallery talk on a work by Christopher Williams, Museum of Contemporary Art, Los Angeles.

  • 1983

    Color Balance, Film As Installation II, Leandro Katz, editor; exhibition catalogue; New York: The Clocktower, 1983.

  • 1981

    Projection Instructions and Cue Rolls, West Coast: A Survey of Independent/Avantgarde Film, Henry Hills, editor; film screening series catalogue; New York: Anthology Film Archives, 1981; note for Projection Instructions slightly revised from an unpublished note written c. 1976; note for Cue Rolls reprinted from New Magazine (see under “1977” below).

  • 1979

    Untitled program note for the screening at Boston Film/Video Foundation, February 17, 1979; xerox.

  • 1977

    Some Introductory Remarks and Talking with Jack Goldstein, LAICA Journal, No. 14, April-May 1977.
    Notes on Southern Exposure, gallery note for Film Spaces, Art Gallery, Mount San Antonio College, Walnut, California, December 9-13, 1977; xerox.
    Cue Rolls, New Magazine, Vol. 8, No. 3, May 1977; revised version of program note for screenings at the Whitney Museum of American Art (see under “1976” below).

  • 1976

    Cue Rolls and Phi Phenomenon, program notes for showings in the New American Filmmaker series, Whitney Museum of American Art, May 11-May 16, 1976; mimeograph.

  • 1975

    Untitled statement in October calendar for Canyon Cinematheque, San Francisco (date of composition uncertain); reprinted in Alan Williams’s program note for the screening at the Albright-Knox Art Gallery on January 15, 1976 (see under “1976” in “Selected Bibliography, Reviews, and Related” below).

Visiting Artist / Lectures

  • 2007

    École Nationale des Beaux-Arts, Lyon (Visiting artist)

  • 1998

    Merz Akademie, Stuttgart
    Städelschule, Frankfurt

  • 1997

    Otis College of Art and Design, Los Angeles (Visiting artist)
    Art Center College of Design, Pasadena, California (Visiting artist)
    School of Film/Video, California Institute of the Arts, Valencia, California (Visiting artist)

  • 1996

    Art Department, University of California at Riverside (Visiting artist)
    Occidental College, Los Angeles (Visiting artist)

  • 1995

    California Institute of the Arts (Visiting artist)

  • 1992

    Art Center College of Design, Pasadena (Visiting artist)

  • 1986

    Art Center College of Design, Pasadena (Visiting artist)

  • 1980

    Philadelphia College of Art, Philadelphia

  • 1978

    Contemporary Art Survey (lecture series), Art Department, UCLA
    College of Creative Studies, University of California at Santa Barbara (Visiting artist)
    Department of Visual Arts, University of California at San Diego

  • 1977

    Otis Art Institute, Los Angeles

Selected Other Activities

  • 2012

    Conversation with Jean-Philippe Antoine and Christa Blümlinger after the screening “Morgan Fisher et affinités électives (films by Morgan Fisher, Christoph Girardet, and Matthias Müller),” Centre Pompidou, Paris; part of “Morgan Fisher: Un cinéma hors-champ?”; Université Paris 8 Vincennes–Saint-Denis, Institut national de l’histoire de l’art, and Centre Pompidou, Paris.
    Roundtable at the ceremony for Doctor honoris causa, Université Paris 8 Vincennes–Saint-Denis; with the participation of Morgan Fisher, Christophe Gallois, Jean-Philippe Antoine, and Christa Blümlinger; part of “Morgan Fisher: Un cinéma hors-champ?”; Université Paris 8 Vincennes–Saint-Denis, Institut national d’histoire de l’art, and Centre Pompidou, Paris.
    Panelist in the symposium “Beyond the Frame: How and Why,” with the participation of Rainer Bellenbaum, Sabeth Buchmann, Gabriele Jutz, and Constanze Ruhm; program available online at http://foundation.generali.at/index.php?id=1057 (accessed May 7, 2012); in conjunction with the exhibition “Morgan Fisher: The Frame and Beyond,” Generali Foundation, Vienna.
    “Non-Composition, Past and Present,” conversation with Yve-Alain Bois, in conjunction with the exhibition “Morgan Fisher: The Frame and Beyond,” Generali Foundation, Vienna.
    “Artists’ Books and Cookies,” presented by Biblioteca Alumnos47 and ForYourArt at ForYourArt, Los Angeles; discussion with Cesar Garcia about Morgan Fisher: Two Exhibitions and Morgan Fisher: Writings (see “Selected Bibliography, Reviews, and Related” below).

  • 2011

    Interviewed by Jens Hoffman in Kaleidoscope Arena at ROMA—The Road to Contemporary Art, the Rome art fair.

  • 2010

    Panelist, “The Most Typical Avant-Garde and Experimental Film in Los Angeles,” organized by Federico Windhausen, Annual Meeting of the Society for Film & Media Studies; informal talk titled “Near but Far; Narrative Film as a Subject.”
    Curated and presented a program of films by other filmmakers, Courtisane Festival, Ghent, Belgium.
    Panelist, “Material,” third of a series of panels under the general title “Experimental Film in a Museum Context,” organized by Rita Gonzalez, assistant curator, Contemporary Art Department, and Alex Klein, Ralph M. Parsons Curatorial Fellow, Wallis Annenberg Photography Department, Los Angeles County Museum of Art.
    Panelist, “Alternative Projections: Experimental Film in Los Angeles 1945 – 1980,” University of Southern California; screening of work done by members of the Los Angeles Independent Film Oasis, followed by discussion.

  • 2008

    Panelist, “In Memory of the Image,” organized by Stuart Comer, Curator of Film, Tate Modern, Frieze Talks, Frieze Art Fair.
    Read untitled collage text in “A Live Reading/Performance of the Texts of Lawrence Weiner,” curated by Fred Dewey; Beyond Baroque, Venice, California.

  • 2007

    (years) Contributed an untitled page to CMYK, an artist project curated by Walead Beshty in Cabinet 27.
    Contributed an entry in Instructions for Films, a project curated by William Rose for no.w.here, first presented as no.w.here’s contribution to the *Zoo Art Fair, London

  • 2006

    Respondent to James Welling’s lecture “Ideas of Color” in the series “Works in Progress,” The Getty Research Institute, Los Angeles.

  • 2002

    January 19, 1998, performance/talk presented at “Radical Time,” a symposium in the Graduate Program, Department of Art, UCLA, January 19, 2002.

  • 1994

    Color This!, Foundation for Art Resources, Los Angeles, 1994; coloring book of drawings by Los Angeles artists

  • 1990

    Juror, dramatic film competition, U.S. Sundance Film Festival, Park City, Utah.

  • 1986

    Panelist, “Film in Los Angeles: The Avant Garde and the Industry”; annual meeting of the University Film and Video Association.

  • 1981-95

    Member of the Board of Advisors, The Foundation for Art Resources, a non-profit
    1995 organization that produces art events in diverse forms and media.

  • 1977

    Guest editor, Journal, No. 14, April-May, 1977, Los Angeles Institute of Contemporary Art, 1977.

  • 1976

    Panelist, “Object/Illusion: The Filmic Dialectic”; annual meeting of the College Art Association.

Solo Publications

  • 2014

    Morgan Fisher: Conversations, Aspen Art Museum, Aspen, USA

  • 2013

    Morgan Fisher: Exterior and Interior Color Beauty, Bortolami Gallery, New York, USA

  • 2012

    Morgan Fisher: Two Exhibitions; introductory essays by Sabine Folie and Susanne Titz; essays by Thom Andersen, Yve-Alain Bois, Sabeth Buchmann Rainer Bellenbaum and Morgan Fischer, Generali Foundation, Vienna; Museum Abteiberg, Monchengladbach; Walther Konig, Cologne
    Morgan Fisher: Writings; introductory essays by Sabine Folie and Susanne Titz; essays by Morgan Fisher, Generali Foundation, Vienna; Museum Abteiberg, Monchengladbach; Walther Konig, Cologne

  • 2011

    Films and Paintings and In Between and Nearby, Sue Haddon, editor; essays by Christophe Gallois, Stuart Comer, and Alex Sainsbury; notes on the work in the exhibition by Morgan Fisher, Raven Row, London, UK

Selected Bibliography and reviews

  • 2018

    Rebhandl, Bert, Highlights from the 2018 Berlinale Film Festival, frieze.com, 27 February 2018.

  • 2016

    ----, The Rewards of Self-Repression, Christopher Williams in conversation with Morgan Fisher,Mousse., 33, December 2016- January 2017, pp. 239-245

  • 2015

    Balsom, Erika, Morgan Fisher – Maureen Paley, Artforum, March 2015, p 291
    Palacios Cruz, Maria, Morgan Fisher’s “Past Present, Present Past”, art-agenda.com, 22 January 2015
    ——, Morgan Fisher and Ivan Morley at Bortolami Gallery, New York, en.artmediaagency.com, 23 September 2015

  • 2014

    Sawyer, Drew, Morgan Fisher’s Melancholic Modernism, aperture.org, 10 December 2014
    Elbaum, Sarah, Morgan Fisher, China Art Objects Galleries / Los Angeles, artillerymag.com 4 March 2014
    Knight, Christopher, Morgan Fisher gets contemplative over color, latimes.com, 31 January 31 2014
    Spines, Christine, Explore the art of border crossing with Morgan Fisher: scholar, sculptor, filmmaker and conceptual artist, blogs.artcenter.edu, 24 March 2014

  • 2013

    Girolamini, Gabriele, AGAINST METHOD :: ANARCHIST THEORY, dromemagazine.com, 11 October 2013
    Kamin, Diana, Morgan Fisher: New York, at Bortoami, Art in America Online, December 3, 2013
    Morgan Fisher at Aspen Art Museum, in “Exhibitions,” Contemporary Art Daily (contemporaryartdaily.com), February 1, 2013.

  • 2012

    Morgan Fisher: Two Exhibitions, Sabine Folie and Susanne Titz, editors; exhibition catalogue; Vienna:
 Generali Foundation; Mönchengladbach: Museum Abteiberg; Cologne: Verlag der Buchhandlung Walther König, 2012; essays by Thom Andersen, Yve-Alain Bois, and Sabeth Buchmann and Rainer Bellenbaum; introductory essays by Sabine Folie and Susanne Titz; notes on the works by MF.
    Über den Rahmen hinaus: Morgan Fisher, Der Kurier Online (Vienna), 1 märz, 2012.
    Christoph Huber, Ernste Kunst, nur leider sehr lustig,” Die Presse (Vienna), 2 märz 2012.
    Brigitte Borchhardt-Birbaumer, Auch Kunsttoast ist eckig, Wiener Zeitung Online, 21 märz 2012.
    Anne Katrin Feßler and Isabella Reicher, Wahrnehmungsspezialist mit Blick fürs Jenseitige, Der Standard (Vienna), 6 April 2012.
    Symposium, Institut national d’histoire de l’art and Centre Pompidou, Paris; with the participation of Jean-Philippe Antoine, Christa Blümlinger, Sabine Folie, Christophe Gallois, Ilse Lafer, Matthias Müller, Laura Mulvey, and Constanze Ruhm. Available online at http://www.univ-paris8.fr/IMG/pdf_programmew.pdf (accessed May 7, 2012); part of Morgan Fisher: Un cinéma hors champ?; Université Paris 8 Vincennes–Saint-Denis, Institut national d’histoire de l’art, and Centre Pompidou, Paris.
    2012 Stefan Grissemann, Warum tun Sie sich analoge Filmarbeit noch an, Mr. Fisher? Profil (Vienna), 7 mai 2012.
    Made in L.A. 2012, Anne Ellegood et al., editors; exhibition catalogue; Los Angeles: Hammer Museum;
 New York/London/Munich: Prestel, 2012.
    Christopher Knight, The Hammer Biennial ‘Made in L.A. 2012’ Succeeds, Los Angeles Times, June 8, 2012.
    Enrico Camporesi, Morgan Fisher: il film e il suo parergon (contro Michael Fried), Predella, No. 31, Fall 2012; http://predella.arte.unipi.it
    Jean-Philippe Antoine, De la chinoise à la China Girl: Morgan Fisher, Standard Gauge, 1984, Collection Films, Philippe-Alain Michaud, editor; Paris: Editions du Centre Pompidou, 2012; given as a lecture at the Pompidou on March 25, 2009.
    Yuki Higashino, Morgan Fisher, Generali Foundation, cmagazine, Winter 2012.

  • 2011

    Artefact Festival—The Emergence of Things; exhibition brochure; Louvain, STUK Arts Centre, 2011.
    Morgan Fisher: Films and Paintings and In Between and Nearby, Sue Haddon, editor; exhibition guide; London: Raven Row, 2011; essays by Christophe Gallois, Stuart Comer, and Alex Sainsbury; notes on the work in the exhibition by MF.
    Charlotte Bonham-Carter, Morgan Fisher, Flash Art (May–June 2011).

    Morgan Fisher, Curators’ Notebook, (July 7, 2011), available online at http://www.sculpture-center.org/exhibitionsCuratorsNotebook.htm (accessed May 2, 2012).

    Simone Menegoi, Displaced Reflections, Kaleidoscope, Issue No. 11, Summer 2011.
    Jori Finkel, Aiming for a Wider Angle on Video Art, Los Angeles Times, July 7, 2011.
    State of Mind; New California Art circa 1970, Constance M. Lewallen and Karen Moss, editors; exhibition catalogue; Newport Beach: Orange County Museum of Art; Berkeley: University of California Berkeley Art Museum and Pacific Film Archive; Berkeley/Los Angeles/London: University of California Press, 2011; essays by Constance M. Lewallen, Karen Moss, Julia Bryan-Wilson, and Anne Rorimer.
    François Piron and João Fernandes, Locus Solus: Impressions of Raymond Roussel; exhibition catalogue; Madrid: Museo Nacional Centro de Arte Reina Sofía; Porto, Museu de Arte Contemporânea de Serralves; Madrid: Turner Ediciones, 2012; texts by François Piron and others.
    Morgan Fisher – Translations, Susanne Titz, editor; exhibition brochure; Mönchengladbach: Museum Abteiberg, 2011; foreword by Susanne Titz; notes on the work in the exhibition by MF.
    Dirk Richerdt, Morgan Fisher im Abteiberg-Museum, Rheinische Post, 21 Oktober, 2011.

  • 2010

    Christiane Fricke, Beobachten, wie Bilder entstehen, Handelsblatt (Düsseldorf), January 29, 2010.
    Georg Imdahl, “Die Leinwand und das Licht – Galerie Daniel Buchholz, Arbeiten von Willem de Rooij und Morgan Fisher,” Kölner Stadt-Anzeiger, February 12, 2010.
    Sebastian Preuss, Haubrokshows – Die Kunst der reinen Fläche, Berliner Zeitung, 4 Mai 2010.
    María Palacios Cruz, Le cinéaste comme théoricien. Pratique et théorie dans le cinéma d’avant-garde américain des années 1960 et 1970: les cas de Morgan Fisher et Thom Andersen, L’artiste comme théoricien, Olivier Mignon, editor; Brussels: (SIC), 2010.
    Alchemy Box, Christophe Gallois, editor; exhibition catalogue; Nogent-sur-Marne: Maison d’Art Bernard Anthonioz, les Éditions de l’Œil, Montreuil, 2010; introductory essay by Xavier Franceschi, essay by Christophe Gallois.
    Martin Herbert, Sunless, Frieze, Issue 135, November–December 2010.

  • 2009

    Grit Weber, Auch jeden Ausnahme folgt einer Regel, Kaleidescope, January bis März 2009.
    Bianca Stigter, Film heeft als doel de film te laten vergeten, NRC Handelsblad (Rotterdam), 24 Januari, 2009.
    Sandra Danicke, So schön unperfekt, Frankfurter Rundschau, 31 Januar–1 Februar 2009.
    Grit Weber, Morgan Fisher, KunstBulletin, 1 Februar, 2009.
    Michael Hierholzer, Unten wie oben: Installation von Morgan Fisher im Portikus, Frankfurter Allgemeine Zeitung, 4 Februar, 2009.
    Hans-Jürgen Hafner, “Spieglein, Spieglein an der Wand,” www.artnet.com, 3 März, 2009.
    Andrew Berardini, 2008 California Biennial, Frieze, Issue 121, March 2009.
    Thomas Amos, “Portikus Looks at Itself; Morgan Fisher hält der renomierten Frankfurter Ausstellungshalle den Spiegel vor,” Bauwelt, 8/2009.
    Thom Andersen, Pebbles Left on the Beach, Cinema Scope, Issue 38, Vol. 11, No. 1, Spring 2009.
    Eva Scharrer, Morgan Fisher in Reviews, Artforum, Vol. XLVII, Number 9, May 2009.
    Mark Toscano, program notes for Restoring the Los Angeles Avant–Garde: Thom Andersen and Morgan Fisher, The Hammer Museum, UCLA, May 27, 2009; laser print-out.
    Scott MacDonald, Adventures of Perception; Cinema of Exploration: Essays/Interviews, Berkeley: University of California Press, Berkeley/Los Angeles/London, 2009.
    See This Sound; Versprechungen von Bild und Ton / Promises in Sound and Vision, Cosima Rainer et al., editors; exhibition catalogue; Linz: Kunstmusum Linz, 2009.
    João Ribas, FAX; exhibition catalogue; New York: The Drawing Center and Independent Curators International, 2009.
    Stoffel Debuysere and María Palacios Cruz, “Morgan Fisher Films,” Independent Film Show 9th Edition, Raffaella Morra, editor; screening series catalogue; Naples: e-m arts/fondazione morra, 2009.
    Edwin Carels, Size Matters, Catalogue; exhibition catalogue; Rotterdam: 38th International Film Festival Rotterdam, 2009.
    Christa Blümlinger, Kino aus zweiter Hand; Zur Ästhetik materieller Aneignung im Film und in der Medienkunst; Berlin: vorwerk 8, 2009.

  • 2008

    Andrew Berardini, Please Stay Out, We’re Open, Picks, artforum.com, July 24, 2008.
    Federico Windhausen, Selected Shorts, artforum.com/film, September 9, 2008.
    2008 California Biennial, Karen Jacobson, editor; exhibition catalogue; Newport Beach: Orange County Museum of Art, 2008; essays by Lauri Firstenberg, Joshua Decter, and Rene Peralta; conversation between William E. Jones and MF.
    Christopher Knight, Don’t Take It Lying Down; In a Far-Flung Show Biennial Artists Stand Up for Their Causes, Los Angeles Times, November 4, 2008.
    Christopher Knight, Around the Galleries: Monochrome: The Color of Funny, Los Angeles Times, November 7, 2008.
    Sarah Lehrer-Graiwer, Morgan Fisher, Picks, artforum.com, November 16, 2008.
    Christophe Gallois, Neutre Intense; exhibition catalogue; Montreuil: Maison Populaire, 2008; essay by Christophe Gallois.
    Los Angeles: Eine Stadt im Film; A City on Film; Eine Retrospektive der Viennale, Astrid Ofner and Claudia Siefen, editors; exhibition catalogue; Vienna: Schüren Verlags, 2008.

  • 2007

    Kyle Bentley, Associative Property, Artforum, Vol. XLV, No. 6, February 2007.

  • 2006

    P. Adams Sitney, Medium Shots; The Films of Morgan Fisher, Artforum, Vol. XLIV, No. 5, January 2006.
    Etc.; Projects arranged by Matt Keegan at Andrew Kreps Gallery, New York, 9/05–1/06, Matt Keegan, editor; exhibition and program catalogue; New York: Matt Keegan, 2006.
    A Walk to Remember, Jens Hoffman, editor; exhibition catalogue; Los Angeles: LACE (Los Angeles Contemporary Exhibitions; Frankfurt: Revolver, 2006.
    Lucy Reynolds, “Outside the Archive: The World in Fragments,” Ghosting: The Role of the Archive within Contemporary Artists’ Film and Video, Jane Connarty and Josephine Lanyon, editors; Bristol: Picture This Moving Image, 2006.
    Bunch Alliance and Dissolve, Public-Holiday Projects (Rachel Foullon, Matt Keegan, Laura Kleger), editor; exhibition catalogue; Cincinnati: Contemporary Arts Center; Brooklyn: Public-Holiday Projects, 2006.
    Standard Gauge: Film Works by Morgan Fisher, 1968–2003, Chrissie Iles, editor; gallery leaflet; Los Angeles: Museum of Contemporary Art, 2006; excerpts from notes on the films by MF.
    Los Angeles 1955–1985; Birth of an Art Capital, Catherine Grenier, editor; exhibition catalogue; Paris: Éditions du Panama and Éditions du Centre Pompidou, 2006; essays by Catherine Grenier, Howard N. Fox, and David E. James.
    Jennifer Bornstein, “Standard Gauge: Film Works by Morgan Fisher: 1968–2003”; in “The Artists’ Artists,” Artforum, Vol. XLV, No. 4, December 2006.

  • 2005

    Federico Windhausen, “The Parenthesis and the Standard; On a Film by Morgan Fisher,” Cinephilia; Movies, Love and Memory, Marijke de Valck and Malte Hagener, editors; Amsterdam: Amsterdam University Press, 2005.
    David E. James, The Most Typical Avant-garde: History and Geography of Minor Cinemas in Los Angeles; Berkeley/Los Angeles/London: University California Press; New York: Columbia University Press; Princeton: Princeton University Press, 2005; contains as a chapter the essay published in October 90, Fall 1999 (see under “1999” below).
    Carol Schwarzman, “Morgan Fisher” in “Reviews,” Art Papers, Volume 29, Number 2, March/April 2005.
    Marie de Brugerolle, “Morgan Fischer [sic], Galerie Stephan Adamski,” Flash Art, Vol. XXXVIII, No. 243, July-September 2005.
    Mark Webber, “Escape from the Filmic Bermuda Triangle,” Tate ETC., Issue 5, Autumn 2005.
    Bruce Hainley, “The Bigger Picture,” Frieze, Issue 94, October 2005.
    Henriette Huldisch, “Standard Gauge: Film Works by Morgan Fisher, 1968–2003”; gallery leaflet; New York: Whitney Museum of American Art, 2005; essay by Henriette Huldisch, Assistant Curator of Film and Video.
    “Standard Gauge: Film Works by Morgan Fisher, 1968–2003,” Stuart Comer, editor; gallery leaflet; Los Angeles: Museum of Contemporary Art, 2005; notes edited by Stuart Comer from writings by MF.
    Jim Supanick, “Rules of Engagement; Morgan Fisher’s Cinema of Refusal and Reflexivity,” Film Comment, November/December 2005.

  • 2004

    Paul Arthur, “( ),” Film Comment, January-February 2004.
    Biennial Exhibition, Chrissie Iles et al., editors; exhibition catalogue; New York: Whitney Museum of American Art, 2004; essays by Chrissie Iles, Shamin M. Momin, and Debra Singer.
    Luis Recoder, “On Morgan Fisher’s Lecture at the Guggenheim,” Millennium Film Journal, No. 42, Fall 2004.
    Emily Speers Mears, “Morgan Fisher,” “Picks,” artforum.com, December 12, 2004.
    Chrissie Iles, “Film; Best of 2004,” Artforum, Vol. XLIII, No. 4, December 2004.

  • 2003

    Fate of Alien Modes, Constanze Ruhm et al., editors; exhibition catalogue; Vienna: Wiener Secession, 2003.

  • 2002

    P. Adams Sitney, Visionary Film: The American Avant-Garde, 1943–2000, third edition; New York: Oxford University Press, 2002.
    2002 Christopher Knight, “Finding Conceptual Pleasures in Monochromes,” Los Angeles Times, January 25, 2002.
    Catrin Backhaus, “Morgan Fisher,” Frieze, Issue 68, June/July/August 2002.
    Hans-Christian Dany, “Morgan Fisher,” Springerin, Vol. VIII, Issue 2/02, June–August 2002.
    Jens Hoffman, A Show That Will Show That a Show Is Not Only a Show; exhibition catalogue; Los Angeles: Edition Valerio, Paris / Berlin, and The Project, New York / Los Angeles, 2002; “An E-mail conversation between Bruce Hainley and Jens Hoffman” and an untitled essay by MF.
    Gernot Geduldig,“Der Kunstler schätzt grau,” Aachener Nachrichten, 20 September, 2002.
    Frank Frangenberg, “Morgan Fisher – To See Seeing,” Kunstforum International, Vol. 162, November-December 2002.
    Vanessa Joan Müller, “Gemälde über Bücher,” Texte zur Kunst, Issue 48, December 2002.
    Sie träumt von ihrem Lieblingsstar. Er spricht mit einer fremden Sprache. Vier Räume aus derSammlung Schürmann, Julian Heynen and Doris Krystof, editors; exhibition catalogue; Düsseldorf: Ständehaus K21, Kunstsammlung Nordrhein-Westfalen; Ostfildern–Ruit: Hatje Cantz Verlag, 2002.

  • 2001

    Rainer Unruh, “Junge Kunst aus Kalifornien,” Kunstforum International, Vol. 154, April-May 2001.
    Lena Kiessler, “Frances Stark Meets Morgan Fisher,” Nach dem Film, 12/01; www.nachdemfilm.de, Home>Report>Projekte: Frances Stark meets Morgan Fisher.

  • 1999

    David E. James, “Hollywood Extras: One Tradition of ‘Avant-Garde’ Film in Los Angeles,” October 90, Fall 1999.
    Projections: Intermission Images, Karen Atkinson and Sylvia Bowyer, editors; exhibition catalogue; Pasadena: AMC Old Pasadena 8 Theaters; Santa Monica: Side Street Projects, 1996; curators’ statement, essays by Andrea Liss and Paul Von Blum, and artists’ statements; booklet, View-Master stereo reel, and View-Master stereo viewer.

  • 1995

    “Morgan Fisher: Script of Standard Gauge,” Screen Writings: Scripts and Texts by Independent Filmmakers, Scott MacDonald, editor; Berkeley/Los Angeles/London: University of California Press, 1995.
    Ann Goldstein and Anne Rorimer, 1965–1975: Reconsidering the Object of Art; exhibition catalogue; Los Angeles: Museum of Contemporary Art, 1995; essays by Lucy R. Lippard, Stephen Melville, and Jeff Wall.

  • 1994

    Kristine McKenna, “Filmforum Tackles the ‘Beast,’” Los Angeles Times, February 14, 1994.
    Jesse Lerner, “Independents in L.A.– Scratching the Belly of the Beast,” The Independent (Los Angeles), July 1994.
    Scratching the Belly of the Beast; Cutting-Edge Media in Los Angeles, 1922-1994, Holly Willis, editor; Los Angeles: Filmforum, 1994; “Missing the Boat,” essay by MF.

  • 1993

    Scott MacDonald, Avant-Garde Film: Motion Studies; New York: Cambridge University Press, 1993.

  • 1992

    David Sterritt, “Avant-Garde Films: Recent Trends and Key Works,” and Steve Anker, “Testament to an Orphaned Art”; Blimp, Issue No. 20, Summer 1992; texts in German and English; special issue devoted to the series “Unknown Territories: American Independent Film” presented at the Vienna Film Theater by Sixpack Film, Vienna.
    Willem de Greef, “The Found Footage Film as an Art of Reproduction,” and Peter Tscherkassky, “The Analogies of the Avant-Garde,” Found Footage Film, Cecelia Hausheer and Christoph Settele, editors; Lucerne: VIPER/zyclop Verlag, 1992.

  • 1991

    Off Hollywood, Francesco Bono, editor; Nuovocinema/Pesaro No. 38, Quaderni della Mostra Internazionale del Nuovo Cinema; Venezia: Marsilio Editori, 1991;
    1991 Scott MacDonald’s introduction to A Critical Cinema and Steve Anker’s essay “The Avant-Garde; Into the Eighties” (for both see under “1988” below); both in Italian.
    Indipendenti USA, Charles Burnett, Stan Brakhage, Francesco Bono, editor; Quaderno Informativo; Pesaro: XXVII Mostra Internazionale del Nuovo Cinema, 1991; J. Hoberman’s 1985 review of Standard Gauge; in Italian.

  • 1990

    John G. Hanhardt, “Beyond Illusion: American Film and Video Art, 1965-75,” The New Sculpture 1965-1975: Between Geometry and Gesture, Richard Armstrong and Richard Marshall, editors; exhibition catalogue; New York: Whitney Museum of American Art, 1990.
    Erik Saks, “20 Best Films of the Decade,” Modern Times, Issue No. 4, April 1990.
    Andy Klein, “Standard Gauge,” The Hollywood Reporter, October 8, 1990.

  • 1989

    Scott MacDonald, “Morgan Fisher: Film on Film,” Cinema Journal, Vol. 28, No. 2, Winter 1989.
    Scott MacDonald, “Putting All Your Eggs in One Basket: A Survey of Single-Shot Films,” Afterimage, Vol. 16, No. 8, March 1989.
    David James, Allegories of Cinema: American Film of the Sixties; Princeton: Princeton University Press, 1989.
    David Schwartz, “Morgan Fisher,” program note for retrospective at The American Museum of the Moving Image, New York, May 12-May 19, 1989; xerox.
    John G. Hanhardt, “Film and Video in the Age of Television,” Image World: Art and Media Culture, Marvin Heiferman and Lisa Phillips, with John G. Hanhardt, editors; exhibition catalogue; New York: Whitney Museum of American Art, 1989.

  • 1988

    Steve Anker, “The Avant-Garde; Into the Eighties,” Independent America; New Film 1978-1988; New York: American Museum of the Moving Image, 1988; http://www.movingimagesource.us/images/articles/Independent-America-20090126-145700.pdf
    Roger Simon, “At the Boundaries: Standard Gauge, The Avant-Garde, and Postmodernism,” Spectator, Vol. 9, No. 1, Fall 1988.
    Yann Beauvais et al, mot:dites,image; exhibition catalogue; Paris: Scratch / Musée National d’Art Moderne, 1988; essay by Yann Beauvais, “Des mots encore des mots,” and Scott MacDonald, “Le texte comme image” (see under “1986” below); in French.

  • 1986

    J. Hoberman, “Ten the Hard Way — The 10 Best Films of 1985,” The Village Voice, January 7, 1986.
    Scott MacDonald, “Text as Image in Some Recent North American Avant-Garde Films,” Afterimage, March 1986.
    Alan Williams, “Standard Gauge,” Film Quarterly, Fall 1986.

  • 1985

    J. Hoberman, review of Standard Gauge, The Village Voice, April 30, 1985.
    Biennial Exhibition, Richard Armstrong, John G. Hanhardt, et al., editors; exhibtion catalogue; New York: Whitney Museum of American Art, 1985.
    P. Adams Sitney, “Rear-Guard,” American Film, July-August 1985.
    John G. Hanhardt, “The Passion for Perceiving: Expanded Forms of Film and Video Art,” Art Journal, Fall 1985.

  • 1984

    J. Hoberman, “After Avant-Garde Film,” Art After Modernism: Rethinking Representation, Brian Wallis, editor; New York: The New Museum of Contemporary Art, 1984.

  • 1983

    Film as Installation II, Leandro Katz, editor; exhibition catalogue; New York: The Clocktower, 1983; essay by MF on Color Balance.

  • 1982

    J. Hoberman, “Vulgar Modernism,” Artforum, February 1982.
    10 Years of Living Cinema, Vincent Grenier, coordinating editor; exhibition catalogue; New York: Collective for Living Cinema, 1982.

  • 1981

    Zeno Birolli, with the collaboration of Franco Ghielmetti, American and French Independent Cinema; exhibition catalogue; Milano: Padiglione d’arte contemporanea – Cineteca Italiana, 1981.
    Henry Hills, West Coast: A Survey of Independent/Avantgarde Film; exhibition catalogue; New York: Anthology Film Archives, 1981; essay by Henry Hills, “West Coast Independent Films: An Introduction”; notes by MF on Phi Phenomenon and Cue Rolls.

  • 1980

    “The Pleasure Dome,” American Experimental Film 1939-1979, Claes Söderquist, editor; exhibition catalogue; Stockholm: Moderna Museet, 1980; essay by P. Adams Sitney, “The Achievement of the American Avant-Garde Cinema 1960-1970.”

  • 1979

    Jonathan Crary, “Revisions: Whitney Museum,” Flash Art, October-November 1979.
    Peter Frank, “Guerrilla Gallerizing,” The Village Voice, May 7, 1979.
    J. Hoberman, review of Protective Coloration, The Village Voice, October 15, 1979.
    Trent Myers, “Re-Visions,” Arts Magazine, September 1979.
    Lawrence Van Gelder, “New Film Series Opening at the Modern,” New York Times, April 20, 1979.
    Thom Andersen, “Morgan Fisher,” program note for showing in series “Independent Film Makers in Columbus,” Department of Photography and Cinema, Ohio State University, May 4, 1979; mimeograph.
    John G. Hanhardt, “Re-Visions: Projects and Proposals in Film and Video”; gallery leaflet; New York: Whitney Museum of American Art, April 19-May 13, 1979.

  • 1978

    James Welling, “Pat O’Neill and Morgan Fisher — ‘Film Spaces,’” Artweek, January 14, 1978.

  • 1977

    Janet Kardon, Time; exhibition catalogue; Philadelphia: Philadelphia College of Art, 1977.

  • 1976

    Linda Gross, “’The ‘Eastern Influence’ in Film Series,” Los Angeles Times, June 11, 1976.
    J. Hoberman, “Secrets of the Hand-Held Camera: Films Hollywood Won’t Allow,” Village Voice, April 5, 1976.
    Graham Weinbren, “Morgan Fisher — Filming the Process,” Los Angeles Vanguard, June 11-18, 1976.
    Alan Williams, Evenings for New Film: Morgan Fisher,” program note for screening at Albright-Knox Art Gallery, presented in collaboration with Media Study/Buffalo and the Center for Media Study, SUNY/Buffalo, January 15, 1976; xerox.

  • 1975

    Regina Cornwell, Recent Radical Film, Art Information Distribution, New York, 1975.
    John Dorr, FILMEX Shorts, The Hollywood Reporter, March 27, 1975.

  • 1974

    Tony Rayns, “Reflected Light: Independent Avant-Garde Festival,” Sight and Sound, Winter 1973/74.
    Thom Andersen, Films by Morgan Fisher, program note for screening at Theatre Vanguard, Los Angeles, February 12, 1974; mimeograph.
    Kevin Thomas, “Phenomenon of Film Explored,” Los Angeles Times, February 12, 1974.
    Amos Vogel, Film as a Subversive Art; New York: Random House, 1974.

  • 1973

    Donald Skoller, “The Fisher Phenomenon,” Film Comment, Vol. 9, No. 2, March-April 1973.
    Jonas Mekas, Movie Journal, The Village Voice, October 25, 1973.

  • 1972

    Donald Skoller, “Aspects of Cinematic Consciousness,” Film Comment, Vol. 8, No. 3, September-October 1972.

  • 1970

    Kynaston L. McShine, Information; exhibition catalogue; New York: Museum of Modern Art, 1970.

  • 1969

    P. Adams Sitney, Structural Film, Film Culture, No. 47.

Residencies

  • 2009

    Lucas Artist Residency Program, Montalvo Arts Center, Saratoga, California

  • 2007

    IASPIS (International Artists Studio Program in Sweden)

  • 1998

    Künstlerhaus Stuttgart

  • 1974

    Department of Cinema, State University of New York, Binghamton

Collections

Whitney Museum of American Art, New York, USA
Centre Georges Pompidou, Paris, France
FRAC Ile-de-France, Paris, France
Museum of Contemporary Art, Los Angeles, USA
Museum of Modern Art, New York, USA
Moderna Museet, Stockholm, Sweden
Deutsche Kinemathek, Berlin, Germany
Generali Foundation, Vienna, Austria