selected bibliography

Only a few of the following texts (indicated by links) have been uploaded to this web site. Contact the artist or Catriona Jeffries Gallery for copies of any other texts.

Jump to catalogues ... exhibition reviews ... other articles ... writing by Koh

 

CATALOGUES AND EXHIBITION ESSAYS

  • Jan Allen, "The Stubborn Grace of the Particular", in Germaine Koh: Personal (Kingston, Ontario: Agnes Etherington Art Centre, 1997)
  • Jan Allen, "Germaine Koh", in Jonathan Watkins and Jo Spark, eds., Every Day: 11th Biennale of Sydney (Sydney, Australia, 1998)
  • Ken Babstock,"On Utility", poem in Germaine Koh Works. (Berlin: Künstlerhaus Bethanien, 2005)
  • Wayne Baerwaldt, "Sightings of Germaine Koh", in Germaine Koh: Personal (Kingston, Ontario: Agnes Etherington Art Centre, 1997)
  • Wayne Baerwaldt, MosaiCanada: Sign & Sound (Seoul Museum of Art, 2003)
  • Pascale Beaudet, "Germaine Koh: OUVERT" exhibition folder (Montreal: Joyce Yahouda Gallery, 2004)
  • Clint Burnham, “Cat Fries” exhibition essay in Signage (Vancouver: Catriona Jeffries Gallery, 2002)
  • Joceline Chabot, "Qui s'inquiète du poids des cailloux?" exhibition folder in SKOL 1998-1999 (Montreal: Centre des arts actuels SKOL, 1999)
  • Sylvie Cotton, "Le moi de la performance", in Pink Link ou la proposition rose (Montreal: La Centrale/Powerhouse, 2001)
  • Timothy Dallett, "Representechnics", in Dallett, ed., image/duration: installations of the moving image (Ottawa: Gallery 101, 1999)
  • Nathalie de Blois, "Tenir devant l'évidence / Withstanding the Obvious", in L'envers des apparences (Montreal: Musée d'art contemporain de Montréal, 2005)
  • ed. François Dion and Luis Jacob, "After 1000 Gracias", in Dion, ed., Fin de siècle (Montreal: Optica, 2000)
  • Dave Dyment, "Stand Up and Be Counted: The Quotidian Work of Germaine Koh" Germaine Koh: Stall (Hong Kong: Para/Site Art Space, 2004)
  • Xandra Eden, "phaino", Bounce / IN THROUGH THE OUT DOOR (Toronto: The Power Plant, 2002
  • Cliff Eyland, Germaine Koh: Around About (Winnipeg: Gallery One One One and Plug In Institute of Contemporary Art, 2001). Essay reprinted in Border Crossings, February 2002
  • Philip Fry, March 1991 mars (Ottawa: Arts Court, 1991)
  • Richard Fung, "Then and Now", in Recollection Project (Toronto: Gendai Gallery, 2002)
  • Peggy Gale, Tout le temps / Every Time: la Biennale de Montréal 2000 (Montreal: Centre international d'art contemporain)
  • Adrian George, "Germaine Koh - Marks and Relay" in Paul Domela, ed., Liverpool Biennial International 04 (Liverpool Biennial, 2004)
  • Adam Geczy, "The Partial Architecture of Ruins" folder (Sydney: Artspace , 2003)
  • Gilles Godmer, "L'art qui résiste / Art That Resists" essay and "Germaine Koh" artist entry L'envers des apparences (Montreal: Musée d'art contemporain de Montréal, 2005)
  • Gerrit Gohlke, "Vorgetäuschte Beiläufigkeit / Feigned Casualness" in Germaine Koh Works. (Berlin: Künstlerhaus Bethanien, 2005) Deutsch/English
  • Sophie Hackett, "Necessary Fiction and the Quiet Victory of Sheer Persistence", The Found and the Familiar (Toronto: Gallery TPW, 2002)
  • Rosemary Heather, "Supersaturated Quiet", in Open Hours (Hamilton: McMaster Museum of Art, 2002)
  • Ivan Jurakic, re:cycle (Hamilton, 2003)
  • Bryce Kanbara, "Try to Remember", in Recollection Project (Toronto: Gendai Gallery, 2002)
  • Stacey Lancaster, "Placecards" exhibition folder (Toronto: Mercer Union, 2000)
  • Anne-Marie Léger, Fibres nerveuses (Montreal: Ville de Montréal, 1994)
  • David Liss, "Germaine Koh", in Sobey Art Award 2004 (Halifax: Art Gallery of Nova Scotia, 2004)
  • Karen Love, The Bigger Picture: Portraits from Ottawa(Ottawa Art Gallery, 2005)
  • Patrice Loubier, "Attractions de l'ordinaire / Die Anziehungskraft des Gewoehnlichen", in Germaine Koh Works. (Berlin: Künstlerhaus Bethanien, 2005) français/Deutsch
  • Laura U. Marks, "Immanent Domain", Germaine Koh (Vancouver: Contemporary Art Gallery, 2001) (PDF in two parts: part 1- 312Kb; part 2- 208Kb)
  • Laura U. Marks, artist entry (English or français) in Peggy Gale et al., Tout le temps / Every Time: la biennale de Montréal 2000 (Montreal: Centre international d'art contemporain)
  • Dionne McAffee, "Bodies of Evidence" exhibition brochure (Calgary: The New Gallery, 1995)
  • Pamela Meredith, "Self-conscious" exhibition folder (Vancouver: Catriona Jeffries Gallery,2000)
  • Ander Monson, artist entry, Important Canadian Art (New York: ZieherSmith, 2004)
  • Melanie O'Brian, “The Way the Wind Lies: Germaine Koh's Codes of Contingency" exhibition essay (Vancouver: Catriona Jeffries Gallery, 2002
  • James Patten, London Life Young Contemporaries '96(London, Ontario: London Regional Art and Historical Museums, 1996)
  • Alan Reed, exhibition folder (Edmonton: Latitude 53, 2000)
  • Steve Reinke, "Preliminary Descriptions", Open Hours (Hamilton: McMaster Museum of Art, 2002)
  • Jean-François Renaud. "Monuments in the present tense" exhibition brochure (Ottawa Art Gallery, 1994) (English - français)
  • Christina Ritchie, Waste Management (Toronto: Art Gallery of Ontario, 1999)
  • Gaston Saint-Pierre, 1e Biennale nationale de sculpture contemporain (Trois-Rivières: La Galerie d'Art du Parc, 2004)
  • Daniel Sharp, exhibition folder (Ottawa: Gallery 101, 1991)
  • Karen Spencer, "Nope, she ain't comin' home for supper", in Pink Link ou la proposition rose (Montreal: La Centrale/Powerhouse, 2001)
  • Monika Szewczyk, "chronocidal citizens", Germaine Koh: Shell (Vancouver: Catriona Jeffries Gallery, 2005)
  • Christoph Tannert et al., Urbane Realitaeten: Fokus Istanbul / Urban Realities - Focus Instanbul (Berlin: Kuenstlerhaus Bethanien, 2005)
  • Nicole Thérien, "Germaine Koh / Nicole Lebel" exhibition brochure (Montreal: La Centrale, 1994)
  • Jonathan Watkins, "Every Day", in Watkins and Jo Spark, eds., Every Day: 11th Biennale of Sydney (Sydney, Australia, 1998)
  • Michele White, "Knitwork", Cahiers de B-312, no. 4, (Montreal: B-312, 1993)


EXHIBITION REVIEWS
 

  • Nancy Baele, "Arts Court's 'Monuments' evokes lost lives", Ottawa Citizen, 17.4.1994
  • Nancy Baele, "Subtle distinctions", Ottawa Citizen, 5.9.1991
  • Nancy Baele, "Calming paintings", Ottawa Citizen, 30.8.1990
  • Bruce Barcott. "Collectors' Items", Seattle Weekly, 19.7.1995
  • Elissa Barnard, “The 250-pound blanket,” Halifax Chronicle-Herald/Mail-Star, February 9 1996
  • Laura Bil, “waste management rules," The Varsity (Toronto), p. 9, April 1999
  • Christopher Brayshaw, "Koh's Work Focuses on Meaningful Details," The Georgia Straight (Vancouver), 27 January 2005
  • Jennifer Couëlle, “Germaine Koh: Il etait une fois le temps qui fuit,” ETC Montréal, no 25, pp 42-43, February-May 1994
  • Michel Blois, "La sculpture dans tous ses états", Le Soleil, 24.7.2004
  • Amy Cheng, Art & Collection (Taiwan), no. 106, July 2001, pp. 170-1
  • Sigrid Dahle, "Artist goes Around, About to get materials," Winnipeg Free Press, 8 December 2001
  • Gary Michael Dault, "Psychotopes at YYZ", The Globe and Mail (Toronto), 6.9.2003
  • Jérome Delgado, "L'envers des apparences: Images trompeuses", La Presse (Montreal), 12.6.2005
  • Jérome Delgado, "Une biennale sous d'autres cieux", La Presse (Montreal), 31.7.2004
  • Adriana García, “Veo mi arte de modo modesto y tranquilo,” El Universal (Mexico City), April 20 1999
  • Tania Gómez, "Comparte Koh su filosofía del arte," Reforma (Mexico City), 4C, 14 April 1999
  • Regina Hackett, "BAM exhibit is doing its part to close the Canada-U.S. art divide," Seattle Post-Intelligencer, 1 August 2003
  • Regina Haggo, "Knitwit's exhibition is truly off the wall," The Hamilton Spectator, 28 September 2002, p. 7
  • Petra Halkes, “Germaine Koh,” C Magazine, no. 56, p 46, December 1997 - January 1998
  • Makiko Hara, "Germaine Koh, FADs art space," BT, vol 55, no. 835, May 2003, p. 216-217. English translation by Shinobu Akimoto
  • Hickson, Joy. “Knit one, purl one,” Lethbridge Herald, A12, July 18 1997
  • Ihor Holubizky, "Biennale of Sydney: Every Day", Canadian Art, Winter 1998
  • Robin Laurence, "Koh Invites Us to Explore Electronics," The Georgia Straight, 12-19 June 2003, p. 64
  • Robin Laurence, “Meaning Blows in on Wind", The Georgia Straight, p. 56, 9-15 May 2002
  • Robin Laurence, “Artists Give New Meaning to BBs and Banal Signage,” Georgia Straight, p. 59, May 24-31 2001
  • Robin Laurence, “Work and words go up in smoke,” The Globe and Mail (Toronto), p. R8, May 19 2001
  • Marie Leduc, "Germaine Koh at Para/Site Art Space," Canadian Art, Winter 2004, pp. 75-6
  • Henry Lehmann, "The hole thing", Montreal Mirror, 2.6.1994
  • Lisa Liebmann and Brooks Adams. “A Summer Place,” Art in America, pp 100-107, 130, June 1998
  • Kyla Mallett, "Germaine Koh - Catriona Jeffries Gallery", C Magazine no. 86, Summer 2005, p. 48
  • Gillian MacKay, "Germaine Koh at YYZ", The Globe and Mail (Toronto), 25.4.1998
  • Barbara L. Miller. "Vancouver", Art Papers, March 2002
  • Sarah Milroy, "The Best of the Rest," The Globe and Mail (Toronto), 3 November 2001, p. V7
  • Nurwisah, Ron, "Germaine Koh and Ken Lum," Rice Paper, vol. 6, no. 2, 2001
  • Lee Parpart, “The personal is public,” Kingston Whig-Standard, July 12 1997
  • Joan Richardson, "Life at the new Contemporary Art Gallery: Germaine Koh & Ken Lum," Vie des Arts, p. 78, Summer 2001
  • Elizabeth Ritchie, “Robert Fong-Jean, Germaine Koh, Antonia Lancaster, Christopher Ira McKay”, Parachute, no. 63, pp 41-42, Summer 1993
  • Dana Samuel, “Review: Waste Management,” Fuse Vol. 22 No. 4, 2000, pp. 49-50
  • R.M. Vaughan, “Trash and Treasures,” eye Weekly (Toronto), p 35, April 22 1999


OTHER ARTICLES

  • Jan Allen, "Germaine Koh: getting personal", Art/Text (Sydney), no. 59 (November 1997-January 1998), pp. 50-1 (289Kb PDF)
  • Nancy Baele, "Gallery gives showcase for ad hoc spirit" artist/curator profile, Ottawa Citizen, 13 Feb 1994
  • Elissa Barnard, "Making the mundane remarkable" Halifax Chronicle Herald, 29 September 2004
  • Pennina Barnett, "Small Gestures and Acts of Grace: An Interview with Germaine Koh, " Women: a cultural review (Oxfordshire, UK), 13:3 Winter 2002, pp. 356-369
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  • Kirk Finken, "Ad Hoc gallery: profile of an underdog", profile, Ottawa XPress, 6 April 1994, p.10
  • Hastings, Sascha, "Postmark Berlin", Canadian Art, Spring 2006, pp. 62-67
  • Rosemary Heather, "Private Public Art Venues & The Untamed Audience," C Magazine, no. 75, Fall 2002, pp. 28-30
  • Rosemary Heather, "Ladies and Gentlemen, We Are Floating in Space," Les commenseaux : Quand l'art se fait circonstances / When Art Becomes Circumstance (Montreal: Centre des arts actuels SKOL, 2001), pp. 156-165
  • Ihor Holubizky, "Spotlight: Germaine Koh", Canadian Art, Spring 1999, pp. 34-8 (420Kb)
  • Mathew Kabatoff, “Signals - An Interview with Germaine Koh”, Rhizome.org, 30 January 2001
  • Patrice Loubier, “Enigmes, offrandes, virus: formes furtives dans quelques pratiques actuelles”, Parachute, pp. 99-105, no. 101, January/March 2001
  • Patrice Loubier, “Pour une sculpture qui disparait/For a Disappearing Sculpture”, Espace, pp. 6-11, no. 50, Winter 1999-2000
  • Paul Lukas, "Inconspicuous Consumption," New York Press, 26 April-2 May 1995, p.12. Reprinted in Beer Frame, (New York), no. 5, 1995; in "Culture To Go", City Pages (Minneapolis), 1 May 1996, p.26; and in Lukas, Inconspicuous Consumption (New York: Crown, 1997), pp. 177-8
  • Bethany Lyttle, "Knitwork: giving form to the invisible," Interweave Knits (New York), Spring 2005, p. 6
  • Marc Mayer, Christopher Brayshaw et al., "Fresh Eyes," TIME Magazine Canadian edition, 14 October 2002, pp. 58-65 (or 302Kb PDF)
  • Leah McLaren, “What’s up with that woman in the window?”, The Globe and Mail, p. R3, 24 February 2001
  • Vanessa Joan Mueller, “Sprache jenseits des Alphabets / Speech Beyond the Alphabet“, Be Magazine no. 12, 2005, p. 122-127
  • Diana Nemiroff et al., "8 for 2000," The Globe and Mail (Toronto), 6 Nov 1999, p. F1,10
  • Hal Niedzviecki, “Picture Postcard: Post-art in the garbage era”, Broken Pencil (Toronto), no. 4, Winter 1996
  • Hal Niedzviecki, "Pop: Product: Person: Cultural appropriation in the ad age", Adbusters (Vancouver), no. 21 (Spring 1998), pp. 22-30 (link to article)
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  • Catherine Osborne, “Smoke and Buttons”, pp. 29-31, Canadian Forum, March 2000
  • Portia Priegert, "A self-portrait that's always changing", eVent, 8 November 2006, p. 4
  • Joel Smith, "Roll Over: The Snapshot's Museum Afterlife," Afterimage, pp. 8-11, September-October 2001
  • Keith Wallace, "The beauty of rupture: Artists of Asian descent and Canadian identity", Art Asia Pacific, pp. 66-73, no. 24, October 1999
  • Murray Whyte, "Random acts of weirdness", Toronto Star, 24.6.2005
  • Chris Zdeb, “Life… as art among the classifieds”, Edmonton Journal, p. C1, October 23 2000
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OTHER MEDIA FORMATS
  • "Portrait of the Artist as a Young Woman: Germaine Koh," interview with Beatrice Ekwa Ekoko, Radio Free School,  CFMU 93.3 (Hamilton), 9 October 2002, archived at www.radio4all.net

SELECTED WRITING BY GERMAINE KOH

  • Prototype: Contemporary Art from Joe Friday's Collection (Ottawa: Carleton University Art Gallery, 2006)
  • "Jin-me Yoon: Welcome Stranger Welcome Home" catalogue essay in Home and Away (Vancouver Art Gallery, 2003)
  • "Shinobu Akimoto" essay, YYZine (Toronto), Spring 2002
  • "Slipping in and away," text project in Les commenseaux : Quand l'art se fait circonstances / When Art Becomes Circumstance (Montreal: Centre des arts actuels SKOL, 2001), pp. 30-33
  • "Give Aways: a partial account," essay in MIX independent art + culture magazine (Toronto), no. 27.2, Fall 2001, pp. 24-29
  • "Private Thoughts / Public Moments" review, Fuse (Toronto), vol. 23, no. 4, p. 43-4
  • "Havana Biennial" review, Frieze (London), no. 59, April 2001, p. 106-7
  • "No Mercy: the Art-World Wrestling Federation Open Championships," Mercer Union (Toronto)
  • "Soft Design for Mushy Thought," MIX independent art + culture magazine (Toronto), no. 26.3, Winter 2001, pp. 24-28
  • Curatorial essay for brochure, "c/o la Ciudad," SAW Gallery (Ottawa), 2000, travelling to Blackwood Gallery, University of Toronto Erindale Campus (126Kb PDF brochure)
  • "Stan Douglas", ETC Montréal, September-December 1999, pp. 54-7
  • "Threshold", Parachute (Montreal), no. 93, January-March 1999, p. 48-9
  • Essays in Crossings (Ottawa: National Gallery of Canada, 1998) (selection: Jimmie Durham)
  • "Miyajima: Thousand Road" exhibition brochure (Ottawa, National Gallery of Canada, 1997)
  • Regular contributor to Lola (Toronto) since 1998 (selection: shotgun on Persona Volare)
  • Curatorial essay for brochure  "Chaos Theories," SAW Gallery (Ottawa), 1998
  • "Lynne Cohen", Contact Sheet (Syracuse), no. 89, 1996
  • "Geographies of Desire," C Magazine (Toronto) no. 46, 1995
  • Curatorial essay for brochure, "Practice Ground" (co-curated with Daniel Sharp), Ottawa Art Gallery, 1994
  • "Kirsten Mosher: Sandra Gering," Flash Art International (New York), January-February 1993, p. 92