Jim Lambie
Jim Lambie’s (b. 1964, Glasgow, Scotland) practice evolves from a response to the psychology of space and colour and is influenced by movements in art and the history of place.
Sourcing his material directly from the modern world, Lambie references popular culture, often drawing his subject matter from music and iconic figures. He makes use of everyday objects and materials – both as reference points and as original objects, transforming them into new sculptural forms, re-energising them and giving them with an alternative function.
Encapsulating ideologies in art history, and arbitrated by cultural deities, Lambie allows himself to work liberally and outside the constraints of a single medium or dimension.
Education
| 1994 | BA (Hons) Environmental Art, Glasgow School of Art |
Current & Forthcoming
| 2023 | ‘Beyond the Darkness’, Ala Scaligera at the Rocca di Angera, Varese |
| ‘Jing'an International Sculpture Project’, Jing'an Sculpture Park, Shanghai |
Solo Exhibitions
| 2021 | ‘Buttercup’, The Modern Institute, 3 Aird's Lane, Glasgow |
| 2020 | ‘Year Unknown’, Anton Kern Gallery, New York |
| ‘Northern Soul’, Sadie Coles HQ, London | |
| 2019 | ‘Wild Is The Wind’, Roslyn Oxley9 Gallery, Sydney |
| ‘Zobop (Cerulean) Stairs’, Centraal Museum, Utrecht | |
| ‘Skin Shape’, Anton Kern Gallery, New York | |
| 2018 | ‘Totally Wired’, Franco Noero, Turin |
| ‘Spiral Scratch’, Pacific Place, Admiralty, Hong Kong | |
| ‘Both Ends Burning’, Konrad Fischer Galerie, Dusseldorf | |
| 2017 | ‘Zobop (Viridescent)’, Anton Kern Gallery, New York |
| 2016 | ‘Electrolux’, The Modern Institute, 14—20 Osborne Street, Glasgow |
| ‘La Scala’, Gerhardsen Gerner, Berlin | |
| ‘Derrick Alexis Coard, Glasgow International’, Project Ability gallery, Trongate 103, Glasgow (Installed in collaboration with Jim Lambie) | |
| 2015 | ‘Train in Vein’, Anton Kern Gallery, New York |
| ‘Zero Concerto’, Roslyn Oxley9 Gallery, Sydney | |
| ‘Sun Rise Sun Ra Sun Set’, Rat Hole Gallery, Tokyo | |
| 2014 | Fruitmarket Gallery, Edinburgh (Part of GENERATION 2014) |
| ‘Answer Machine’, Sadie Coles HQ, London | |
| Barrowland Park, Glasgow | |
| 2013 | ‘The Flowers of Romance’, Pearl Lam, Hong Kong |
| 2012 | ‘Shaved Ice’, The Modern Institute, 3 Aird's Lane, Glasgow |
| Gerhardsen Gerner, Berlin (Gallery Weekend Berlin) | |
| ‘you drunken me - Jim Lambie in collaboration with Richard Hell’, Arch Six, Glasgow | |
| ‘Everything Louder Than Everything Else’, Franco Noero, Turin | |
| 2011 | ‘Spiritualized’, Anton Kern Gallery, New York |
| ‘Beach Boy’, Pier Art Centre, Orkney | |
| Goss-Michael Foundation, Dallas | |
| 2010 | ‘Boyzilian’, Galerie Patrick Seguin, Paris |
| ‘ZOBOP’, Jupiter Artland, Edinburgh | |
| ‘Metal Urbain’, The Modern Institute, 14—20 Osborne Street, Glasgow | |
| 2009 | ‘Nervous Track’, Atelier Hermes, Seoul |
| ‘Jim Lambie : Selected Works 1996 - 2006’, Charles Riva Collection, Brussels | |
| ‘Television’, Sadie Coles HQ, London | |
| 2008 | ‘Unknown Pleasures’, Hara Museum of Contemporary Art, Tokyo |
| ‘Eight Miles High’, ACCA, Melbourne | |
| ‘Rowche Rumble’, c/o - Atle Gerhardsen, Berlin | |
| ‘Festival Secret Affair’, Inverleith House, Edinburgh | |
| ‘RSVP: Jim Lambie’, Museum of Fine Arts, Boston | |
| ‘Forever Changes’, Gallery of Modern Art, Glasgow | |
| 2007 | ‘The Prismatics’, Anton Kern Gallery, New York |
| 2006 | ‘Byrds’, Anton Kern Gallery, New York |
| ‘Directions- Jim Lambie’, Hirshhorn Museum and Sculpture Garden, Washington DC | |
| ‘P.I.L.’, Mizuma Art Gallery, Tokyo | |
| 2005 | ‘The Byrds’, The Modern Institute/Toby Webster Ltd, Glasgow |
| ‘Concentrations 47: Jim Lambie’, Dallas Museum of Art, Dallas | |
| ‘Shoulder Pad’, Sadie Coles HQ, London | |
| 2004 | ‘Mental Oyster’, Anton Kern Gallery, New York |
| ‘Mars Hotel’, Franco Noero, Turin | |
| ‘My Boyfriend's Back’, Konrad Fischer Galerie, Dusseldorf | |
| ‘Grand Funk’, OPA, Mexico | |
| 2003 | ‘Kebabylon’, Inverleith House, Edinburgh |
| ‘Male Stripper’, Museum of Modern Art, Oxford | |
| ‘Paradise Garage’, The Moore building, Miami | |
| 2002 | ‘Acid Trails’, Art Basel Miami Beach, The Modern Institute |
| ‘Salon Unisex’, Sadie Coles HQ, London | |
| The Breeder, Athens | |
| 2001 | ‘Boy Hairdresser’, Anton Kern Gallery, New York |
| ‘Jim Lambie’, Galleria Franco Noero, Turin | |
| ‘Blank Generation’, Jack Hanley Gallery, San Francisco | |
| ‘Jim Lambie’, The Modern Institute/Toby Webster Ltd, Glasgow | |
| 2000 | ‘Black Gloss’, Anton Kern Gallery, New York |
| Konrad Fischer Galerie, Dusseldorf | |
| Sonia Rosso, Pordenone | |
| ‘Fictional’, Triangle, Paris | |
| 1999 | ‘Weird Glow’, Sadie Coles HQ, London |
| ‘ZOBOP’, The Showroom, London | |
| ‘Voidoid’, Transmission, Glasgow | |
| 1998 | ‘Ultralow’, The Modern Institute video screening Carnival, Soho |
Group Exhibitions
| 2023 | ‘The RSA Annual Exhibition’, Royal Scottish Academy, Edinburgh |
| 2022 | ‘Kochi Biennale’, Museum of Art & Photography, Dutch Warehouse, Kochi (Collateral Art Projects) |
| ‘The Mirror of Production’, Kunsthall Oslo, Oslo | |
| ‘Glasgow Print Studios 50th Anniversary’, Kelvingrove Art Gallery and Museum, Glasgow | |
| ‘STATUS need a world interlude’, The Modern Institute, 3 Aird's Lane, Glasgow | |
| ‘Mythical Political’, Fire Station Creative, Dunfermline | |
| ‘Rhythm Repeater’, Sadie Coles HQ, London | |
| 2021 | ‘The Christmas Show’, RSA, Edinburgh |
| ‘PIN Benefit Auction’, Pinakothek der Moderne, Munich | |
| ‘Big Medicine’, GIANT, Bournemouth | |
| ‘Galerie House of Art and Design’, Galerie House of Art and Design, Sag Harbor | |
| ‘Casa Balla: From home to the universe and back’, Fondazione MAXXI, Rome (curated by Bartolomeo Pietromarchi, Domitilla Dardi) | |
| ‘Colourspace’, Galleria Mucciaccia, Rome | |
| 2020 | ‘Reduct: Abstraction and Geometry in Scottish Art’, RSA, Edinburgh |
| ‘My Mapping’, Fundación van Gogh Museum, Arles | |
| ‘Remix 2020’, Kunsthalle Bremen, Bremen | |
| ‘MY C ART OGRAPHY. The Erling Kagge Collection’, Santander Art Gallery, Madrid | |
| 2019 | ‘Artworks from the Videoinsight® Collection’, Videoinsight® Foundation, Turin |
| ‘The TURNER’, The Royal Glasgow Institute of Fine Arts, Glasgow | |
| ‘Chairs Beyond Right and Wrong’, R & Company , New York | |
| ‘Alan Kane’s 4 Bed Detached Home of Metal’, The New Art Gallery Walsall | |
| ‘Surface Tension’, Carolina Nitsch, New York | |
| 2018 | ‘Eurovisions: Contemporary art from the Goldberg collection’, Canberra Museum and Gallery , Canberra |
| ‘Innovative Printmaking’, Glasgow Print Studio, Glasgow | |
| ‘If I go there, I won’t stay there’, Ltd Los Angeles, Los Angeles | |
| ‘Op Art in Focus’, Tate Liverpool, Liverpool | |
| ‘The Anthropologist in me’, Fórum Braga, Portugal | |
| ‘Five plus Five: Sculptures of China and Great Britain’, Haikou Hainan Airlines Sun & Moon Plaza, Hainan, China | |
| ‘Open House’, Jessica Silverman Gallery, San Francisco | |
| 2017 | ‘ISelf Collection’, Whitechapel, London |
| ‘An Eyeful of Wry’, Brynmor Jones Library gallery, University of Hull (Government Art Collection) | |
| ‘ISelf Collection’, Whitechapel, London | |
| ‘EUROVISIONS: Contemporary art from the Goldberg Collection’, National Art School, Sydney, Touring to Heidie Museum, Melbourne and Canberra Regional Museum, 2018 | |
| ‘COLORI: L’emozione dei COLORI nell’arte’, GAM – Galleria Civica D'Arte Moderna E Contemporanea, Turin | |
| 2016 | ‘The Revolutionary Suicide Mechanised Regiment Band’, Rob Tufnell, Cologne |
| ‘I still believe in miracles’, Inverleith House, Edinburgh | |
| ‘Jennifer Herrema & Jim Lambie’, VoidoidARCHIVE, Glasgow | |
| ‘Generosity. The Art of Giving’, National Gallery of Prague, Prague | |
| ‘Artificial Realities’, East Wing Biennial, The Courtauld Gallery | |
| 2015 | ‘Below Another Sky’, British Council, London, British Council touring exhibition. Touring to Aberdeen Art Gallery, Aberdeen; Glasgow Print Studio, Glasgow |
| ‘Devils in the Making’, GOMA, Glasgow | |
| ‘Platform’, Holden Gallery, Manchester | |
| ‘Summer Exhibition 2015’, Royal Academy of Arts, London | |
| ‘A Secret Affair: Selections from the Fuhrman Family Collection’, FLAG Art Foundation, New York | |
| ‘Zabludowicz Collection: 20 Years’, Zabludowicz Collection, London | |
| ‘The Curves of the Needle’, BALTIC 39, Newcastle upon Tyne | |
| ‘Andy Warhol in the closet’, Museo d'Arte Contemporanea Villa Croce, Genova | |
| ‘Misappropriations: New Acquisitions’, Orange County Museum of Art, Newport | |
| ‘The Triumph of Love: Beth Rudin DeWoody Collects’, Norton Museum of Art, West Palm Beach, Florida | |
| ‘Schlaflos – Das Bett in Geschichte und Gegenwartskunst’, Österreichische Galerie Belvedere, 21er Haus, Vienna | |
| ‘Color Fields’, Bakalar & Paine Galleries, Massachusetts College of Art and Design, Boston | |
| 2014 | ‘Project Ability Christmas Auction’, Project Ability gallery, Trongate 103, Glasgow |
| ‘What is contemporary in contemporay art?’, Mário Sequeira Gallery, Braga | |
| ‘Spaced Out: Migration to the Interior’, 220 West 18th Street, New York (curated by Phong Bui) | |
| ‘On the Devolution of Culture’, 83 Page Street, London | |
| ‘Archive Fever!’, The Clay and Glass Gallery, Ontario | |
| ‘Discordia’, Patricia Fleming Projects, Glasgow (Part of GENERATION 2014) | |
| ‘You Imagine What You Desire’, Sydney Biennale, Sydney | |
| ‘That Petrol Emotion’, Metropolitan Art Society, Beirut | |
| ‘Private Utopia: Contemporary Works from the British Council Collection’, British Council touring show, British Council touring exhibition. Touring to Tokyo Station Gallery, Tokyo (2014); Itami City Museum Of Art, Itami (2014); The Museum Of Art, Kochi (2014); Okayama Prefectural Museum of Art, Okayama (2015) | |
| 2013 | ‘You Are Here’, Worcester Art Museum, Worcester |
| ‘Fading Nights’, Gerhardsen Gerner, Berlin | |
| ‘My Crippled Friend’, Canzani Center Gallery, Columbus | |
| ‘40/40’, Glasgow Print Studio, Glasgow | |
| ‘A Conspiracy of Detail’, Mackintosh Museum, Glasgow School of Art | |
| ‘The Humors’, Perry Rubenstein Gallery, Los Angeles | |
| ‘Something About a Tree’, FLAG Art Foundation, New York (Curated by Linda Yablonsky) | |
| ‘Pull Down The Future’, SWG3, Glasgow (A Collaborative Exhibition Lawrence & Jim Lambie) | |
| ‘Out of the House, Cranford Collection’, Sala de Arte, Fundación Banco Santander, Madrid | |
| 2012 | ‘Lost Line: Contemporary Art from the Collection’, LACMA, Los Angeles |
| ‘Reliefs, Objects and Sculptures from the Marli Hoppe-Ritter Collection’, Museum Ritter, Waldenbuch, Germany | |
| ‘AKA PEACE’, ICA, London | |
| ‘Decade: Contemporary Collecting 2002 - 2012’, Albright Knox Gallery, Buffalo | |
| ‘Take off your silver spurs and help me pass the time’, Galerie Nikolaus Ruzicska, Salzburg (curated by Gerold Miller) | |
| ‘Look Now: Modern and Contemporary Art from Private Collections’, Montclair Art Museum, Montclair | |
| 2011 | ‘The Sculpture Show’, Scottish National Gallery of Modern Art, Edinburgh |
| ‘Home Alone’, The Sender Collection, Miami | |
| ArtGig Tokyo, Tokyo | |
| ‘Industrial Aesthetics: Environmental Influences on Recent Art from Scotland’, Times Square Gallery, Hunter College, New York | |
| ‘Made in the UK: Contemporary Art from the Richard Brown Baker Collection’, Museum of Art, Rhode Island School of Design, Providence | |
| ‘Dublin Contemporary 2011’, St Stephen's Green House, Dublin | |
| ‘vanishing points: paint and paintings from the debra and dennis scholl collection’, Bass Museum of Art, Miami Beach | |
| ‘Space Oddity’, Centro Cultural Andratx, Mallorca | |
| ‘Compass’, Gropius Bau, Berlin | |
| 2010 | ‘Missing Beat’, Sommer Contemporary Art, Tel Aviv |
| ‘Highlights From The Collection’, Goss Michael Foundation, Dallas | |
| ‘Nature’, Gerhardsen Gerner, Berlin | |
| ‘Undone: Making and Unmaking in Contemporary Sculpture’, Henry Moore Institute, Leeds | |
| ‘The New Decor’, Hayward Gallery, London | |
| ART HK 2012, Hong Kong | |
| ‘The Library of Babel / In and Out of Place’, Zabludowicz Collection, London | |
| ‘Altogether Elsewhere’, Rodeo, Istanbul | |
| ‘SHAZAM!’, Gerhardsen Gerner, Berlin | |
| 2009 | ‘TONITE’, The Modern Institute/Toby Webster Ltd, Glasgow |
| ‘Compass in Hand: Selections from The Judith Rothschild Foundation Contemporary Drawings Collection’, MOMA, New York | |
| ‘Running Time: Artists Films in Scotland 1960 to Now’, Dean Gallery, Edinburgh | |
| ‘The Kaleidoscopic Eye: Thyssen-Bornemisza Art Contemporary Collection’, Mori Art Museum, Tokyo | |
| ‘Colour Chart: Reinventing Colour, 1950 to Today’, Tate Liverpool, Liverpool | |
| ‘Le sang d'un poéte’, île de Nantes, Nantes | |
| 2008 | ‘Thyssen-Bornemisza Art Contemporary Collection as Aleph’, Kunsthaus Graz, Universalmuseum Joanneum, Graz |
| ‘Color Chart: Reinventing Color, 1950 to Today’, MOMA, New York | |
| ‘FILMS’, Sadie Coles HQ, London (screening of Ultralow) | |
| ‘Musical Paintings’, ScheiblerMitte, Berlin (curated by Bernd Wurlitzer) | |
| SWG3, Glasgow (Glasgow International 2008) | |
| Towada Art Project, Towada Art Centre | |
| ‘La invención de lo cotidiano’, Colección Jumex-Museo Nacional de Arte | |
| 2007 | ‘Passion Complex: Selected Works from the Albright-Knox Art Gallery’, 21st Century Museum of Contemporary Art, Kanazawa |
| ‘Substance & Surface’, Bortolami Dayan Gallery, New York | |
| ‘Wild West’, Galerie Gebr Lehmann, Berlin | |
| ‘Sympathy for the Devil: Art and Rock and Roll since 1967’, MCA, Chicago, Touring to Museum of Contemporary Art, North Miami and Musée d'art contemporain de Montréal | |
| ‘Off the Wall’, Scottish National Gallery of Modern Art, Edinburgh | |
| ‘Reconstruction 2’, Sudeley Castle, Winchcombe | |
| ‘Melting Point’, Tokyo Opera City Art Gallery, Tokyo | |
| ‘Domestic Irony. A curious glance at private Italian collections’, Museion, Bolzano | |
| ‘Unmonumental: The Object in the 21st Century’, New Museum, New York | |
| ‘Half Square, Half Crazy’, Villa Arson, Nice | |
| ‘Breaking Step’, Museum of Contemporary Art, Belgrade | |
| 2006 | ‘Life's a Beach’, Sommer Contemporary Art, Tel Aviv |
| ‘Gregor Schneider: Totalschaden/Total Damage’, Bonner Kunstverein, Bonn | |
| ‘In the darkest hour there may be light’, Serpentine Gallery, London | |
| ‘This Is Not For You - Sculpture as Tropes of Criticality’, Thyssen-Bornemisza Art Contemporary, Vienna | |
| ‘Absract Art Now: strictly geometrical?’, Wilhelm-Hack Museum, Ludwigshafen am Rhein | |
| ‘Among the Ash Heaps and Millionaires’, Ancient & Modern, London | |
| ‘Implosion’, Anton Kern Gallery, New York | |
| ‘Strange Powers’, Creative Time, New York | |
| ‘How to Improve the World, British Art 1946-2006’, Hayward Gallery, London | |
| ‘All Hawaii Entrées / Lunar Reggae’, Irish Museum of Modern Art, Dublin | |
| ‘Life's a Beach’, Sommer Contemporary Art, Tel Aviv | |
| ‘If it didn’t exist you’d have to invent it: a partial Showroom history’, The Showroom, London | |
| ‘JaGGy-edge’, The Travelling Gallery, touring Scotland | |
| 2005 | ‘The Turner Prize’, Tate Britain, London (nominee) |
| ‘Extreme Abstraction’, Albright Knox Gallery, Buffalo | |
| ‘Omaggio al Quadrato’, Franco Noero, Turin | |
| ‘Prisms & Shadows’, Glasgow Print Studio, Glasgow (curated by Toby Paterson) | |
| ‘Experiencing Duration’, Biennale d'Art Contemporain de Lyon, Lyon | |
| ‘Minimalism and After IV’, DaimlerChrysler Contemporary, Berlin | |
| 2004 | 54th Carnegie International - Carnegie Museum of Art, Pittsburg |
| ‘Collage’, Bloomberg Space, London | |
| ‘Ouroboros’, CCA, Glasgow | |
| ‘Four Rooms’, CeSAC, Caraglio, Italy | |
| ‘Genesis Sculpture’, Domaine Pommery, Reims | |
| ‘From Aural Sculpture to Sound by Ink’, Galerie Art: Concept, Paris | |
| ‘Synth’, Kunstraum B/2, Leipzig | |
| ‘Stalemate’, MCA, Chicago | |
| ‘Into My World’, Recent British Sculpture, The Aldrich Contemporary Art Museum | |
| ‘Brand New and Retro’, UP Projects, The Empire | |
| ‘Boros Collection’, ZKM Museum for Contemporary Art, Karlsruhe | |
| ‘Sodium & Asphalt’, Museo Tamayo, Mexico City (British Council exhibition. Touring to Museo de Arte Contemporánea de Monterrey, Mexico) | |
| 2003 | ‘Objects in mirror are closer than they appear’, Badischer Kunstverein, Karlsruhe |
| ‘Cut Out’, Barbara Gross Galerie, Munich | |
| ‘The Moderns’, Castello di Rivoli, Rivoli | |
| ‘The Fourth Sex’, Fondazione Pitti Immagine, Florence | |
| ‘Silver convention’, Galerie Giti Nourbaksch, Berlin | |
| ‘Love Over Gold’, Gallery of Modern Art, Glasgow | |
| ‘I Got Ants in My Pants’, Gallery Side 2, Tokyo | |
| ‘OUTLOOK’, International Art Exhibition, Athens | |
| ‘Architecture Scmarchitecture’, Kerlin Gallery, Dublin | |
| ‘Bad Behaviour’, Longside Gallery, Yorkshire Sculpture Park (Arts Council Collection Touring to Aberystwyth Arts Centre; The Metropole Arts Centre; The Glynn Vivian Art Gallery; Newcastle University, Hatton Art Gallery; Millennium Court Arts Centre; Djanogly Art Gallery; Tullie House, Carlisle) | |
| ‘Il racconto del filo. Cucito e ricamo nell'arte Contemporanea (The tale of the other thread: Sewing and Embroidery in Contempora’, MART - Museo di Arte Moderna e Contemporanea di Trento e Rovereto, Trento | |
| ‘Basic Instinct: Minimalism Past, Present, and Future’, MCA, Chicago | |
| ‘Grayscale/CMYK’, Royal Hibernian Academy, Dublin | |
| ‘Painting on Sculpture’, Tanya Bonakdar Gallery, New York | |
| ‘Days Like These - Tate Triennial’, Tate Britain, London | |
| ‘Individual Systems’, Venice Biennale, Venice | |
| ‘ZENOMAP - New Works from Scotland for the Venice Biennale’, 50th Venice Biennale, Venice | |
| ‘Plunder: Culture as Material’, DCA, Dundee | |
| ‘The Unhomely’, Kettles Yard, Cambridge | |
| ‘Painting Not Painting’, Tate St Ives, Cornwall | |
| 2002 | ‘Electric Dreams’, Barbican Centre, London |
| ‘Sudden Glory: Sightgags and Slapsticks in Contemporary Art’, Californian College of Arts and Crafts, Los Angeles | |
| ‘Hello My Name Is ...’, Carnegie Museum of Art, Pittsburgh | |
| ‘Superlounge’, Gale Gates et al, Brooklyn | |
| ‘There is a light that never goes out’, Galerie Sonia Rosso, Pordenone | |
| ‘VIP’, Kunsthalle Palazzo, Liestal | |
| ‘Life is Beautiful’, Laing Art Gallery, Newcastle | |
| ‘New’, Scottish National Gallery of Modern Art, Edinburgh | |
| ‘Jim Jonathan Kenny Frances and Sol’, Stedelijk Museum, Amsterdam | |
| ‘EU2’, Stephen Friedman Gallery, London | |
| ‘Greyscale/CMYK’, Tramway, Glasgow | |
| ‘My Head is on Fire but my Heart is Full of Love’, Charlottenborg Museum, Copenhagen | |
| ‘Painted, Printed & Produced in Great Britain’, Grant Selwyn Fine Art, Beverly Hills | |
| ‘Early One Morning’, Whitechapel, London | |
| 2001 | ‘Tailsliding’, Kunsthall, Bergen (British Council touring exhibition. Touring to Kunsthall, Bergen; Centre of Contemporary Art, Vilnius; Museum of Contemporary Art, Tallinn; House of Artists, Brno; Museum of Contemporary Art, Belgrade; Turku Art Museum, Turku) |
| ‘Superimposition’, Caren Golden Fine Art, New York | |
| ‘G3NY13’, Casey Kaplan, New York | |
| ‘Funktional Fictional’, Kunsthalle zu Kiel, Germany | |
| ‘Between Object and Arabesque’, Kunsthallen Brandts Klaedefabrik, Denmark | |
| ‘Altoids Curiously Strong Collection’, The Lab, San Francisco | |
| ‘Tailsliding’, British Council touring show | |
| ‘I Love New York’, Anton Kern Gallery, New York (benefit show) | |
| ‘Songs of Love and Hate: Side A’, Galerie Weiland, Berlin | |
| ‘Silhouettes’, Lenbbachaus Kunstbau, Munich | |
| ‘Painting at the Edge of the World’, Walker Arts Centre, Minneapolis | |
| ‘Here and Now: Scottish Art 1990-2001’, Dundee Contemporary Arts, Dundee; Aberdeen Art Gallery, Aberdeen | |
| 2000 | ‘Dream Machines’, Dundee Contemporary Arts, Dundee (Hayward touring exhibition. Touring to Mappin Art Gallery, Sheffield; Camden Arts Centre, London) |
| ‘Raumkörper’, Basel Kunsthalle, Basel | |
| ‘Off the Record’, Bucknell Art Gallery, Pennsylvania | |
| Hoxton HQ, Sadie Coles | |
| Mark Selwyn, Los Angeles | |
| ‘Herz aus Glas’, Parking Meters, Cologne | |
| ‘Electric City’, The Lighthouse, Glasgow | |
| ‘Heart and Soul’, Los Angeles | |
| ‘Parking Meters’, Cologne | |
| ‘The British Art Show 5’, Edinburgh; Cardiff | |
| ‘What If’, Moderna Museet, Stockholm | |
| 1999 | ‘Heart and Soul’, 60 Long Lane, London |
| ‘Creeping Revolution’, Foksal Gallery Foundation, Warsaw | |
| Matthew Higgs @ Galerie Krinzinger, Vienna | |
| ‘Dots and Loops’, MK Expositeruimte, Rotterdam | |
| ‘The Queen is Dead’, Stills Gallery, Edinburgh | |
| ‘To be continued ...’, Walsall Public Projects, England | |
| ‘Silk purse’, Waygood Gallery, Newcastle | |
| ‘Papermake’, Modern Art, London | |
| 1998 | ‘All or Nothing’, La Friche Gallery (Triangle) Marseille, France |
| ‘Two Up’, Property Gallery, Glasgow | |
| ‘Lovecraft’, Spacex Gallery, Exeter | |
| The Modern Institute/Toby Webster Ltd, Glasgow | |
| ‘Host’, Tramway, Glasgow (with Elizabeth Go) | |
| ‘Slant 6’, Jacob Javits Center, New York | |
| 1997 | ‘This is ... These are’, Norwich Gallery, Norwich |
| ‘European Couples and Others’, Transmission, Glasgow | |
| 1996 | ‘insanestupidphatfuctpervert’, Concrete Skates, Glasgow (Touring exhibition. Touring to Cubitt, London) |
| ‘Kilt ou Double’, La Vigie Gallery, Nómes | |
| ‘World of Ponce’, Southpark, Glasgow (Curated by Toby Webster) | |
| ‘Art for People’, Transmission, Glasgow | |
| ‘Sick Building’, Transmission Gallery at Globe Space, Copenhagen | |
| ‘Brain Mail’, Broad Studio 17, CalArts, California | |
| ‘Girls High’, The Old Fruitmarket, Glasgow School of Art, Glasgow | |
| 1995 | ‘Jonnie Wilkes & Jim Lambie’, 115 Dalriada, Glasgow |
| ‘Sun Hung Low’, Assembly Gallery, Glasgow (Mary Redmond & Jim Lambie) | |
| ‘In Stereo’, Transmission, Glasgow |
Projects
| 2023 | The Peninsula, New York |
Bibliography
Press
| 2019 | Fateman, Johanna: ‘Jim Lambie’, The New Yorker, 20/04/2019 |
| 2018 | ‘The LISTE Interviews: Toby Webster’, Art Review, 06/2018 |
| 2014 | Sinclair, Mark: ‘The making of the Barrowland Park album pathway’, Creative Review Blog, 30/07/2014 |
| Album Pathway intended as a homage to city‘s Barrowland, The Herald, 23/06/2014 | |
| 2013 | Fox, Dan: ‘Then & Now’, Frieze, No. 159 11/2013 |
| Russeth, Andrew: ‘Jim Lambie Talks Music, DJing and His Glasgow Club’, Gallerist, 08/05/2013 | |
| 2011 | Kyung-yun, Ho: ‘Visual DJ: Jim Lambie’, Asiana, 06/2011 |
| Lowndes, Sarah: ‘Slow Dazzle’, Spike Art Quarterly, 02/2011 | |
| 2010 | ‘Interview’, Frieze, 10/2010 |
| Lauren Dyer Amazeen: ‘Jim Lambie’, Artforum, 09/2010 | |
| Coles Alex: ‘The New Dècor’, Art Monthly, Issue 339 09/2010 | |
| Kotzè, Talitha: ‘Jim Lambie: Metal Urbain’, The List, Issue 657 18/05/2010 | |
| ‘Glasgow International Festival of Visual Art: various venus Glasgow’, Art Review, Issue 42 05/2010 | |
| Bain, Alice, Cooper, Neil, Leaver-Yap, Isla, Quinn, John: ‘Review: Glasgow International Festival’, Map, Issue 22 05/2010 | |
| 2009 | ‘Here Comes the Sun’, Art of England, 07/2009 |
| Philippa Lewis: ‘Colour Chart: Reinventing Colour, 1950 to Today’, Studio-International.co.uk, 23/06/2009 | |
| Laura Cumming: ‘Custard yellow, sky blue, pea green...,’, The Observer, 14/06/2009 | |
| Tom Lubbock: ‘Powerful Pigments’, The Independent, 08/06/2009 | |
| Laura McLean-Ferris: ‘Exhibitionist: The best art shows to see this week’, Guardian.co.uk, 05/06/2009 | |
| Park, Min-young: ‘Optical Illusions at Atelier Hermes’, Korea Herald, 05/06/2009 | |
| Musgrove, Jennie: ‘A Splash of Colour’, Concept for Living, Issue 127 06/2009 | |
| ‘Colour Chart’, New Statesman, 06/2009 | |
| Catherine Jones: ‘Colour Chart (Review)’, Liverpool Echo, 06/2009 | |
| Phillips, Sam: ‘Colour Chart: Reinventing Colour,1950 to Today’, World of Interiors, 06/2009 | |
| Coomer, Martin: ‘Jim Lambie’, Art World, 06/2009 | |
| Barachon, Charles: ‘Jim Lambie Passe En 33 Tours’, Technikart, 06/2009 | |
| Maerkle, Andrew: ‘Jim Lambie: Unknown Pleasures’, Art World, Issue 11 06/2009 | |
| ‘Talking Points’, Harper's Bazaar, 06/2009 | |
| Charles Darwent: ‘Slap on the Dulux and let there be light’, The Independent, 31/05/2009 | |
| Jackie Wullschlager: ‘Colour Chart: Reinventing Colour, 1950 to Today’, Financial Times, 30/05/2009 | |
| Searle, Adrian: ‘Pump up the Volume’, The Guardian, 28/05/2009 | |
| Davis, Laura: ‘Tate is awash with colour’, The Daily Post, 28/05/2009 | |
| Jones, Catherine: ‘Tate of the Art’, Liverpool Echo, 28/05/2009 | |
| Brown, Christopher: ‘Art Colour Chart: Reinventing Colour, 1950 to Today’, Metro, 26/05/2009 | |
| ‘Going out: Colour Chart: Reinventing Colour, 1950 to Today’, The Independent, 23/05/2009 | |
| Davis, Laura: We Won‘t Colour Your Response, Daily Post, 22/05/2009 | |
| Anna Richardson: ‘Wild hues’, Design Week, 21/05/2009 | |
| Campbell-Johnston, Rachel: ‘Breaking the Colour Code’, Times, 19/05/2009 | |
| Campbell-Johnston, Rachel: ‘Does Colour have and meaning in art?’, Times, 19/05/2009 | |
| Miller, Phil: Artist‘s pile of second hand seats bought for £117,000, The Herald, 14/05/2009 | |
| Kremier, Julian: ‘Learning Through Colour’, Art in America, 05/2009 | |
| ‘What to See this Spring’, The Guardian, 23/03/2009 | |
| Schafer, Owen: ‘Jim Lambie Makes Himself at Home’, Weekender, Vol. 40, No. 2 23/01/2009 | |
| Ukawa, Naohiro: ‘Jim Lambie: Unknown Pleasures’, ART iT, No.22 17/01/2009 | |
| Gombrich, Marius: ‘In the space’, The Japan Times, 09/01/2009 | |
| Falconer, Morgan: ‘Ellswoth kelly Feature’, Art World, 2009 | |
| Francis, Peter: ‘Seeing in Colour’, RA, 2009 | |
| Christoph Grunenberg & Ellsworth Kelly: ‘Sixty Years at Full Intensity’, Tate etc., Issue 16 2009 | |
| Madeleine Wilson: ‘Top of the Colour Charts’, V&A Magazine, 2009 | |
| 2008 | Searle, Adrian: ‘What not to miss in 2009’, The Guardian, 30/12/2008 |
| Higgs, Matthew: ‘Jim Lambie, Forever Changes’, Artforum, Issue XLVII 30/11/2008 | |
| Völzke, Daniel: ‘Der Scotte Jim Lambie setzt sich in Glasgow gegen die Konsumwelt durch’, Monopol, 06/2008 | |
| McLean-Ferris, Laura: ‘Glasgow International Festival’, Art Review, Issue 23 06/2008 | |
| Lesso, Rose: ‘Jim Lambie: Forever Changes’, The List, Issue 601 24/04/2008 | |
| Burton, Johanna: ‘Primary Sources’, Artforum, 04/2008 | |
| Chie, Sumiyoshi: ‘Jim Lambie The homemade magician’, ART iT, Issue 20 2008 | |
| 2007 | Armetta, Amoreen: ‘Jim Lambie’, Time Out NY, 17/05/2007 |
| ‘RSVP: Jim Lambie’, Map, Issue 12 2007 | |
| 2006 | Gayer, John: ‘Jim Lambie’, Art Papers, 09/2006 |
| Velasco, David: Critic‘s Picks, Artforum, 31/08/2006 | |
| Pham Do, Katherine: ‘Jim Lambie - P.I.L.’, The Japan Times, 04/05/2006 | |
| Calcutt, John: ‘Jim Lambie’, The Guardian, 05/02/2006 | |
| 2005 | Williams, Eliza: ‘Headline Headline Headline...’, Creative Review, 30/11/2005 |
| Macmillan, Duncan: ‘Confronting an art scene...’, The Scotsman, 25/10/2005 | |
| Kennedy, Alexander: ‘Caught on Tape’, The List, 06/10/2005 | |
| MacMillan, Ian: ‘Awop Bopa Loobop Zobop Bam Boom’, Modern Painters, 05/2005 | |
| Sholis, Brian: ‘Jim Lambie’, Artforum, 05/2005 | |
| Grosenick, Uta: ‘Art Now 2’, Taschen, 2005 | |
| Bracewell, Michael, Luisa Buck: ‘Turner Prize 2005: Jim Lambie, audio transcripts’, |
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| Mulholland, Neil: ‘Use Your Illusions’, Tate etc., Issue 4 2005 | |
| 2004 | Smith, Roberta: ‘Jim Lambie’, The New York Times, 30/04/2004 |
| Schambelan, Elizabeth: ‘Jim Lambie’, Artforum, 2004 | |
| 2003 | Mottram, Jack: ‘The Hot 100: 97 Jim Lambie’, The List, Issue 484 11/12/2003 |
| Wilsher, Mark: ‘Wittgenstein: Family Likenesses/ The Unhomely’, Art Monthly, Number 272 12/2003 | |
| Smith, Sarah: Jim Lambie: L‘art de l‘objet déplacé, O2, Number 31 30/11/2003 | |
| Tufnell, Rob: ‘Jim Lambie. Unplugged’, Art in Progress, Number 7 10/2003 | |
| Fenner, Felicity: ‘Young at heart’, Mouvement, Number 57 10/2003 | |
| Ratnam, Niru: Jim Lambie: the art world‘s very own psychedlic DJ, i-D, 30/09/2003 | |
| Searle, Adrian: ‘Stripe tease’, The Guardian, 23/09/2003 | |
| Fox, Dan: ‘50th Venice Bienniale’, Frieze, Issue 57 09/2003 | |
| Haines, Bruce: ‘Jim Lambie: Male Stripper’, Contemporary, Issue 55 09/2003 | |
| Monaghan, Helen: ‘Zenomap’, The List, 03/07/2003 | |
| Richardson, Craig: ‘Zenomap’, Contemporary, Issue 51 06/2003 | |
| Gleeson, David: ‘Days like these, Tate Triennial’, Flash Art, 05/2003 | |
| Triming, Lee: ‘Jim Lambie: Low Kick and Hard Bop, (interview)’, Flash Art, 05/2003 | |
| Falconer, Morgan: ‘Days like these’, Art Review, 04/2003 | |
| Thatcher, Jennifer: ‘Jim Lambie: Kebabylon’, Contemporary, Issue 50 04/2003 | |
| Troncy, Eric: ‘Décryptage’, Numero, Number 41 28/02/2003 | |
| Gale, Iain: ‘Taking space to a new dimension’, Scotland on Sunday, 19/01/2003 | |
| Eaton, Andrew: ‘Alien Concept’, The Scotsman, 14/01/2003 | |
| Nesbitt, Rebecca Gordon: ‘Jim Lambie, (interview)’, Matters magazine, Number 17 2003 | |
| Bracewell, Michael: ‘Scotland Rocks’, Tate Magazine, 2003 | |
| 2002 | Grant, Catherine: ‘Early One Morningflash’, Flash Art, Number 226 10/2002 |
| Charlesworth, JJ: ‘Not neo but new’, Art Monthly, Number 259 10/2002 | |
| Searle, Adrian: ‘Early One Morning’, The Guardian, 24/07/2002 | |
| Hackworth, Nick: ‘Future Forms’, Evening Standard, 09/07/2002 | |
| Farquharson, Alex: ‘Drastic plastic’, Frieze, Issue 68 06/2002 | |
| Tarsia, Andrea: This is now‘..., Art Review, 06/2002 | |
| Coomer, Martin: ‘Jim Lambie’, Time Out London, 15/05/2002 | |
| Morton, Tom: ‘Early One Morning’, Frieze, Issue 71 02/2002 | |
| Mulholland, Neil: ‘Here + Now: Scottish Art 1990 - 2001’, Frieze, Issue 64 31/01/2002 | |
| Glossop, Claire: ‘Reconsidering New Generation’, Sculpture Journal, Volume VII 2002 | |
| Hunt, David: ‘Unlofty Means’, artext, 2002 | |
| 2001 | Gioni, Massimiliano: ‘New York Cut Up’, Flash Art, 12/2001 |
| Daily, Megan: ‘The Boy Hairdresser’, Artforum, 12/2001 | |
| Burton, Johanna: ‘Boy Hairdresser’, Time Out NY, 27/09/2001 | |
| Smith, Roberta: ‘Boy Hairdresser’, The New York Times, 14/09/2001 | |
| Chivaratanond, Sylvia: ‘Jim Lambie’, Flash Art, 05/2001 | |
| Mahoney, Robert: ‘G3NY13’, Time Out NY, Issue 290 12/04/2001 | |
| Kroner, Magdalena: ‘Jim Lambie’, Flash Art, 03/2001 | |
| Krajewski, Michael: ‘Jim Lambie’, Kunstbulletin, 01/2001 | |
| Cox, Christoph: ‘Abstract concrete: Francisco Lopez and the ontology of sound, Cabinet’, Untitled, Issue 2 2001 | |
| Lowndes, Sarah: ‘Jim Lambie’, The List, 2001 | |
| Wilson, Michael: ‘Jim Lambie’, Untitled, Number 26 2001 | |
| Ackermann, Marion: ‘Schattenrisse’, Lenbachhaus, 2001 | |
| 2000 | Jones, Jonathan: ‘Five-Card Trickbie’, The Guardian, 30/09/2000 |
| Arning, Bill: ‘Jim Lambie’, Art in America, 09/2000 | |
| Lunenfeld, Peter: ‘Untitled’, artext, Number 70 08/2000 | |
| Clifford, Katie: ‘Jim Lambie’, New Art Examiner, 05/2000 | |
| Mahoney, Elisabeth: ‘Dream Machines’, Art Monthly, Number 235 04/2000 | |
| McLaren, Duncan: ‘Dream machines’, The Independent on Sunday, 05/03/2000 | |
| Cotter, Holland: ‘Jim Lambie’, New York Times, 18/02/2000 | |
| Levin, Kim: ‘Jim Lambie’, The Village Voice, 02/2000 | |
| Brown, Neal: ‘Papermake’, Frieze, Issue 50 01/2000 | |
| Lack, Jessica: ‘Dream on’, Tate etc., 2000 | |
| 1999 | Saltz, Jerry: ‘Hungry Hearts’, The Village Voice, 14/09/1999 |
| Musgrove, Dave: ‘Multiples’, Art Monthly, Number 228 07/1999 | |
| Herbert, Martin: ‘Jim Lambie’, Time Out London, 23/06/1999 | |
| Mahoney, Elisabeth: ‘Jim Lambie’, Art/Text, Issue 87 05/1999 | |
| Sinclair, Ross: ‘Jim Lambie’, Frieze, Issue 46 04/1999 | |
| Bird, Nicky: ‘The Queen Is Dead’, Art Monthly, Number 226 04/1999 | |
| Dawes, Mark: ‘Glasgow’, Circa, Issue 87 1999 | |
| McLaren, Duncan: ‘Jim Lambie: Zobop’, Zing Magazine, Number 11 1999 | |
| Shave, Stuart: ‘North Face’, i-D, Issue 187 1999 | |
| 1998 | Nesbitt, Rebecca Gordon: ‘Urban Myths’, Contemporary Visual Arts, Issue 17 1998 |
| 1997 | Plagens, Peter: ‘Glasgow Gets Conceptual’, Newsweek, Volume CXXX, Number 16 1997 |
| 1995 | Wright, Richard: ‘Jonnie Wilkes and Jim Lambie’, Circa, Issue 75 03/1995 |
Exhibition Reviews
| 2021 | Mansfield, Susan: ‘Art Reviews: Nicky Bird | Iman Tajik | Ambi | Jim Lambie’, The Scotsman, 28/05/2021 |
| 2016 | ‘Perceptions of Domesticity’, Aesthetica, 28/11/2016 |
| 2015 | Steadman, Ryan: ‘An Artist Who Makes Art Like a Rock Star’, New York Observer, 14/11/2015 |
| ‘A Conversation with Jim Lambie‘, Ocula, 24/08/2015 | |
| 2013 | Sherwin, Skye and Clark, Robert: ‘Clare Woods, Laura Knight, Sarah Morris: the week‘s art shows in pictures’, Guardian.co.uk, 12/07/2013 |
| ‘Jim Lambie at The Modern Institute’, Contemporary Art Daily, 05/03/2013 | |
| ‘Blurring the Senses’, Aesthetica, 02/2013 | |
| 2012 | Clark, Robert: ‘Jim Lambie: Shaved Ice’, The Guardian Guide, 14/12/2012 |
| Patience, Jan: ‘Gallery round-up’, The Herald, 12/2012 | |
| Dyer Amazeen, Lauren: ‘Review’, Artforum Online, 12/2012 | |
| ‘You Drunken Me‘, www.richardhell.com, 04/2012 | |
| Decter, Joshua: ‘Review’, Artforum, 02/2012 | |
| 2011 | Herbert, Martin: ‘Now See This‘, Art Review, Issue 52 09/2011 |
| 2005 | Jeffery, Moira: ‘Mexican Lights’, Map, Issue 1 01/2005 |
| 1999 | Mahoney, Elisabeth: ‘The Queen is Dead’, Untitled, 1999 |
| Bird, Nicky: ‘The Queen is Dead’, Art Monthly, 1999 |
Publications
| 2017 | 65 Chapters for Knowing about Scotland, Mizuma Art Gallery |
| Creating Ourselves: The Self in Art, Whitechapel Gallery, London | |
| Jim Lambie, Skira Rizzoli, New York | |
| 2014 | ‘Not Just For Me: A Sample of The Poetry Club’, Fruitmarket Gallery, Edinburgh |
| 2004 | Voidoid, The Modern Institute, Glasgow; Sadie Coles HQ, London; Anton Kern Gallery, New York in collaboration with Koenig Books, London |
| 2002 | VITAMIN P, Phaidon Press, London/ New York |
| 1999 | Seven Wonders of the World, Book Works, London |
Exhibition Publications
| 2011 | Made in the UK: Contemporary Art from the Richard Brown Baker Collection, Rhode Island School of Design, Providence (Exhibition catalogue) |
| 2010 | Alexander Calder and Contemporary Art: Form Balance Joy, Museum of Contemporary Art Chicago (MCA), Chicago |
| The Library of Babel - In and Out of Place, Zabudowicz Collection, London | |
| The New Decor, Hayward Publishing, London | |
| 2009 | Unknown Pleasures, Hara Museum of Contemporary Art, Tokyo and DaimlerChrysler Foundation, Tokyo |
| 2008 | Eight Miles High, Australian Centre for Contemporary Art, Southbank |
| Scotland & Venice 2003 2005 2007, Scottish Arts Council/ British Council/ National Galleries of Scotland/ The Scottish Government, Edinburgh | |
| 2007 | Breaking step, Museum of Contemporary Art, Belgrade |
| Domestic Irony: A Curious Glance on Italian Private Collections, MUSEION, Bolzano | |
| Passion Complex: Selected Works from the Albright-Knox Art Gallery, 21st Century Museum of Contemporary Art, Kanazawa | |
| Sympathy for the Devil: Art and Rock and Roll Since 1967, Museum of Contemporary Art, Chicago | |
| 2006 | All Hawaii Entrées/ Lunar Reggae, Irish Museum of Modern Art, Dublin |
| Jim Lambie, abstract art now - strictly geometrical?, Wilhelm-Hack-Museum, Ludwigshafen am Rhein | |
| 2005 | Concentrations 47: Jim Lambie, Thirteenth Floor Elevator, Dallas Museum of Art, Dallas |
| Expérience de la durée, Biennale de Lyon, Lyon | |
| Sodium & Asphalt, Museo de arte Contempoánea de Monterrey, Mexico | |
| Turner Prize 2005, Tate Publishing, London | |
| 2004 | Four Rooms, CeSAC, Caraglio |
| Geneis Sculpture, Experience Pommery #1, Beaux Arts SAS, Paris (special issue published on the occasion of the exhibition Geneis Sculpture, Domaine Pommery, Reims) | |
| Into My World: Recent British Sculpture, The Aldrich Contemporary Art Museum, Connecticut | |
| Jim Lambie: 54th Carnegie International, Carnegie Museum of Art, Pittsburgh | |
| SYNTH: 10 Artists from Glasgow, Kunstraum B/2, Leipzig | |
| 2003 | Bad Behaviour, Hayward Publishing, London |
| Days Like These, Tate Publishing, London | |
| Il racconto de filo, Museo di Arte Moderna e Contemporanea di Trento e Roverto, Trento/ Roverto | |
| Male Stripper, Modern Art Oxford, Oxford (Reflections on the art of Jim Lambie) | |
| Martin Boyce, This Place is Dreaming, (monograph), Contemporary Art Gallery and Tramway, Vancouver and Glasgow | |
| OUTLOOK, Cultural Olympiad, Athens | |
| Painting Not Painting, Tate St.Ives, St. Ives | |
| Undead Dreams (monograph), RomaRomaRoma, Rome | |
| 2002 | Early One Morning, Whitechapel Gallery, London |
| Greyscale/CMYK, Tramway, Glasgow | |
| My Head is on Fire but my Heart is Full of Love, Charlottenborg Exhibition Hall, Copenhagen | |
| Sudden Glory: Sight Gags and Slapstick in Contemporary Art, CCAC Wattis Institute for Contemporary Arts, San Francisco | |
| Very Important Pictures, Kunsthalle Palazzo, Liestal (Bleached Highlights) | |
| 2001 | Funktional Fictional, Kunsthalle zu Kiel, Kiel |
| Here and Now: Scottish Art 1990-2000, Dundee Contemporary Arts, Dundee | |
| Painting at the Edge of the World, Walker Art Centre, Minneapolis | |
| Patterns: Between Object and Arabesque, Kunsthallen Brandts Klædefabrik, Odense | |
| Tailsliding, British Council, London | |
| 2000 | Martin Boyce: When Now Is Night, The Fruitmarket Gallery, Edinburgh |
| Raumkörper. Netze und andere Gebilde, Kunsthalle Basel/ Schwabe Verlag, Basel | |
| 1999 | ZOBOP, Transmission Gallery, Glasgow |
| 1998 | Lovecraft, Spacex Gallery, Exeter |