Walter Price
Born 1989 , Macon, Georgia; Lives and works in New York.
Education
| 2014 | AA, Middle Georgia College |
| 2011 | BA, Art Institute of Washington |
Current & Forthcoming
| 2023 | ‘Drunk vs. Stoned 3’, The Ranch at The Dock, Montauk, New York |
| ‘Pearl Lines’, 14a, Hamburg |
Solo Exhibitions
| 2022 | ‘Pearl Lines’, The Modern Institute, 14—20 Osborne Street, Glasgow |
| ‘Pearl Lines’, Barbara Wien, Berlin | |
| ‘Pearl Lines’, Greene Naftali, New York | |
| 2021 | ‘Pearl Lines’, Camden Arts Centre, London |
| 2020 | ‘Pearl Lines’, The Modern Institute, 3 Aird's Lane, Glasgow |
| ‘Pearl Lines’, Greene Naftali, New York | |
| 2019 | ‘We passed like ships in the night’, Aspen Art Museum, Aspen |
| 2018 | ‘Walter Price’, MoMA PS1, New York |
| ‘Pearl Lines’, Kölnischer Kunstverein, Cologne | |
| ‘Pearl Lines’, The Modern Institute, 14—20 Osborne Street, Glasgow | |
| 2016 | The Modern Institute, Aird's Lane Bricks Space |
| ‘Pearl Lines’, KARMA, New York |
Group Exhibitions
| 2023 | ‘Suncrush’, Greene Naftali, New York |
| 2022 | ‘Interior’, Michael Werner , London |
| ‘Dark Light, Realism in the Age of Post truth’, Aishti Foundation, Lebanon | |
| ‘A Thing for the Mind in London’, Timothy Taylor, London | |
| ‘Black Melancholia’, CCS Bard Hessel Museum of Art, Annandale-on-Hudson | |
| ‘Playing with Bones’, La Traverse, Marseille | |
| ‘Playing with Bones’, La Traverse, Marseille | |
| ‘Toni Morrison's Black Book’, David Zwirner, New York | |
| ‘3 going through 9 to get to 27’, Galveston Artist Residency, Galveston (Galveston Artist residency titled: 3 going through 9 to get to 27 curated by Zahar Vaks in Galveston Texas. ) | |
| 2021 | ‘Contention’, Scheusal, Berlin |
| ‘Ways of Seeing: Three Takes on the Jack Shear Drawing Collection’, The Drawing Center, New York | |
| ‘The Earth, That is Sufficient’, Nicola Vassell Gallery, New York | |
| ‘10th Anniversary Show’, Halsey McKay Gallery, East Hampton, New York | |
| ‘Citizens of Memory’, The Perimeter, London | |
| ‘I Know Where I'm Going • Who Can I Be Now’, The Modern Institute, 14—20 Osborne Street, Glasgow | |
| ‘K as in knight’, Helena Anrather Gallery, New York | |
| 2020 | ‘100 Drawings from Now’, The Drawing Center, New York |
| ‘In/flux: on influence, inspiration, transmission, and transformation’, Ortega Y Gasset projects, Brooklyn | |
| 2019 | ‘The Whitney Biennial 2019’, Whitney Museum of American Art, New York |
| ‘The Practice of Everyday Life’, Slag Gallery, Brooklyn | |
| ‘Techniques of the Observer’, Greene Naftali, New York | |
| 2018 | ‘FRONT International: Cleveland Triennial for Contemporary Art’, Various locations, Cleveland, Ohio |
| ‘Uptown to Harlem’, Riverview School, Cape Cod, MA | |
| ‘Open House’, Jessica Silverman Gallery, San Francisco | |
| 2017 | ‘Hecate’, Various Small Fires, Los Angeles |
| ‘Fictions’, The Studio Museum Harlem, New York | |
| ‘Color People (curated by Rashid Johnson)’, Rental Gallery, East Hampton | |
| ‘We’ll turn Manhattan into an isle of joy’, Markus Lüttgen, Cologne | |
| ‘Summerfest’, Galerie Max Hetzler, Berlin | |
| ‘Flemming Faloon’, Office Baroque, Brussels | |
| ‘99 Cents or Less’, Museum of Contemporary Art Detroit, Detroit | |
| ‘Americans 2017’, LUMA Westbau, Zurich | |
| ‘Mondialité (curated by Hans Ulrich Obrist and Asad Raza)’, Boghossian Foundation–Villa Empain, Brussels | |
| ‘Zeitgeist’, MAMCO Museé d’Art Moderne, Geneva | |
| ‘Drawing Island’, The Journal Gallery, Brooklyn | |
| 2016 | ‘Before Sunset’, Karma, Amagansett, New York |
| ‘No Free Tax Art Month’, 247365, New York | |
| ‘The Great Figure Part Two’, The Journal Gallery, New York | |
| ‘Paper Peddling’, Marvin Gardens, Ridgewood, New York | |
| ‘Hill of Munch’, Rachel Uffner Gallery, New York | |
| ‘When Did Intimacy Begin Width’, Jeffrey Stark, New York | |
| 2013 | ‘Full Spectrum’, Harriet Tubman Museum |
Projects
| 2021 | ‘Art et al. X Cranford Collection’, Online |
Residencies
| 2020 | ‘Camden Arts Centre Studio Residency’, Camden Arts Centre, London |
| 2018 | ‘Robert Rauschenberg Foundation,’, Robert Rauschenberg Foundation, Captiva, Florida |
| 2017 | ‘Guild Hall, East Hampton’, Guild Hall, East Hampton, New York |
Bibliography
Press
| 2023 | Sam Gaskin and Annabel Downes: ‘6 Attention-grabbing Artworks at Frieze Seoul 2023’, Ocula, 08/09/2023 |
| Barbara A. Macadam: ‘Then and Now: Two Artists in Perspective’, Art & Object, 13/03/2023 | |
| Harald Smart: Don‘t try and figure out Walter Price, Carcy Magazine, 2023 | |
| 2022 | Dean Kissick: Walter Price Doesn‘t Aim to Please, Cultured, 02/12/2022 |
| 2021 | Okoro, Enuma : ‘Pearl Lines by Walter Price — dancing with whiteness’, Financial Times, 24/04/2021 |
| 2020 | Jonathan Jones: ‘Abstract fantasies and a naked everywoman – the week in art’, Guardian.co.uk, 13/11/2020 |
| 2017 | Walsh, Brienne: ‘Calling an Art Exhibition "Color People," and not discussing Race, is a radical gesture in 2017’, Forbes, 29/06/2017 |
| Reyburn, Scott: ‘Basquiat Factor’ and a glut of options stoke sales at Art Basel, New York Times, 16/06/2017 | |
| 2016 | Molly Gottschalk: ‘The 10 Best Booths at ZsONA MACO’, Artsy, 04/02/2016 |
| 2015 | Diane Solway: ‘Don’t Interrupt Julian Schnabel and Other Lessons from Art Basel’, W Magazine, 07/12/2015 |
| Artspace Editors: Susan and Michael Hort‘s Picks From Miami Art Week 2015, Artspace, 04/12/2015 |
Exhibition Reviews
| 2022 | Valentine, Victoria L. : ‘Closing Soon: Must-See New York Gallery Exhibitions Showcase Works by Sylvia Snowden, Naudline Pierre, Walter Price, Wole Lagunju, and Ebony J. Patterson’, Culture Type, 17/07/2022 |
| Cotter, Holland : ‘For Black Artists, the Motivating Power of Melancholia’, The New York Times, 23/06/2022 | |
| Schjeldahl, Peter : ‘The Importance of Scale’, The New Yorker, 06/06/2022 | |
| Cascone, Sarah: ‘Walter Price, Julie Mehretu, and Amy Sillman on theWorks They Made in Honor of Toni Morrison for a New Exhibition on the Author’, artnet, 17/02/2022 | |
| 2021 | Brazil, Kevin: ‘"When is a Painting?"’, Art Agenda, 10/09/2021 |
| Sutherland, Calum: ‘Walter Price The Modern Institute’, Artforum, 01/03/2021 | |
| 2020 | Susan Mansfield: ‘Art reviews: We Are Here, Botanics, Edinburgh | Walter Price & Hayley Tompkins, Modern Institute, Glasgow’, Scotsman, 30/11/2020 |
| Smith, Roberta: ‘A Gallery Resurgence in Chelsea’, The New York Times, 08/10/2020 | |
| Als, Hilton: ‘Walter Price’, The New Yorker, 08/10/2020 | |
| Leung Coleman, Madeline: ‘The T List: Five Things We Recommend This Week’, The New York Times Style Magazine, 10/09/2020 | |
| 2019 | Jonathan Goodman: ‘Highlights from the 2019 Whitney Biennial’, Art Fuse, 31/05/2019 |
| 2016 | Ryan Steadman: ‘Do Artists Make the Best Curators?’, Observer, 03/11/2016 |
Publications
| 2023 | Pearl Lines, The Modern Institute/Toby Webster Ltd, Glasgow |
| 2022 | Pearl Lines, Walter König, Cologne |
| 2019 | Pearl Lines, Kölnischer Kunstverein, Cologne |
| The Story Was Full of Marvelous Happenings, Karma, New York | |
| 2018 | Hedgehog the Hero!, Karma, New York |
| 2016 | Crystal Black, Karma, New York |