徐梯善

Massachusetts Institute of Technology, Cambridge, Massachusetts, B.S.A.D., M.Arch.

Rubell Family Collection

Rose Art Museum, Waltham, MA

Museum fur Moderne Kunst, Frankfurt am Main

Metropolitan Museum of Art, New York

Centre George Pompidou, Paris

High Museum, Atlanta

Terra Museum, Mexico City

Los Angeles Museum of Contemporary Art, Los Angeles

Museum of Contemporary Art, North Miami, Florida

Weisman Museum, Minneapolis, Minnesota

1988 - 1990

Cologne, Germany

1994 - 2018

Professor of Visual Arts, Sarah Lawrence College, Bronxville, NY

2005 - 2006

Visiting Professor of Visual and Environmental Studies Harvard University, Cambridge, MA

1993 - 1996

Visiting As sistant Professor, Patt Institute, Brooklyn, NY

1997

Visiting Artist: Tyler School of Art, Temple University

1996

Visiting Artist: Stanford University, Dept. of Art

1992

Visiting Artist: Cranbrook Academy of Art - Painting Dept.

1989

Visiting Artist: Yale University School of Art - Sculpture Dept

1987

Guest Lecturer: Columbia College, Columbia University

Guest Lecturer: Carnegie Mellon University Art Dept.

2020(Upcoming)

Gwangju Biennale 2020

Rose Art Museum, Brandeis University

2020-2021 (Upcoming)

100 Drawings From Now, The Drawing Center, New York

Liquid Circuit, SculptureCenter, New York

2020

Liquid Circuit, Hammer Museum, Los Angeles

2019

delete, Empty Gallery, Hong Kong

2002

The Annex, New York

1991

Galerie Rolf Ricke, Cologne, Germany

1990

Lino Silverstein Gallery, Barcelona, Spain

1989

Pat Hearn Gallery, New York

1988

M.I.T. List Visual Arts Center, Cambridge, Massachusetts

1987

Carnegie Mellon University Art Gallery, Pittsburgh

Leo Castelli Gallery, New York

Pat Hearn Gallery, New York

Hillman Holland Gallery, Atlanta

1986

Pat Hearn Gallery, New York

1985

Pat Hearn Gallery, New York

1984

White Columns, New York

2020(Upcoming)

SAMMLUNG, Tower MMK (The Museum für Moderne Kunst), Germany

2020

"...Hallo Köln!", Galerie Anke Schmidt, Germany

"The Blazing World", Sotheby’s S|2, London

2019

"Phantom Plane, Cyberpunk in the Year of the Future", Tai Kwun, Hong Kong

"Searching the Sky for Rain", Sculpture Center, NY

"The Rose Collection, 1957-2018: Into Form", Rose Art Museum, Waltham

"Cutting the Stone", Miguel Abreu Gallery, New York

"Glow Like That" K11 Art Foundation, Hong Kong

2018

“Brand New: Art and Commodity in the 1980s”, The Hirshhorn Museum, Washington

"Guarded Future II", Downs & Ross, New York

“The Conditions of Being Art: Pat Hearn Gallery & American Fine Arts, Co. (1983- 2004)”, Hessel Museum of Art, CCS Bard, New York

"Brand New: Art and Commodity in the 1980s", Hirshhorn Museum and Sculpture Garden, Washington, DC

2017

"The Silent Baroque Revisited", Hubertushoehe art + architecture, Berlin

2012

“Desperately Seeking Susan”, Kathleen Cullen Gallery, New York

2005

“Extension – Mind to Body to Technology", San Giacomo degli italiani, Naples, Italy (with Cybercast from New York)

2002

“Einfach Kunst. Sammlung Rolf Ricke”, Neues Museum in Nürnberg, Germany

2001

“Selections from the Permanent Collection”, Museum of Contemporary Art, North Miami, Florida

“Pat Hearn Gallery – Part One (1983-1987)"

1998

“Digital Hybrids”, McDonough Museum of Art, Youngstown, Ohio

1997

“Techno.Seduction”, The Cooper Union, New York

1996

“Natural Spectacles”, David Winter Bell Gallery, Providence, Rhode Island

1993

“Art in the Age of Information”, Pittsburgh Cultural Trust & 808 Penn Modern, Wood Street Galleries, Pittsburgh, Pennsylvania

1992

“Regard Multiple - Acquisitions de la Societe des Amis du Musee national d’art moderne”, Centre George Pompidou, Paris

“A New American Flag”, Max Protecht Gallery, New York

1991

“42nd Biennial Exhibition of Contemporary American Painting”, The Corcoran Gallery of Art, Washingon, D.C.

1990

“A La Bibliothek”, Salzburger Kunstveriein, Salzburg, Austria; Stadt. Museum, Mulheim a.d. Ruhr, West Germany

“Vertigo”, Galerie Thaddeus Ropac, Paris

“Mind Over Matter”, Whitney Museum of American Art, New York

“Culture in Pieces - Other Social Objects”, Beaver Art Gallery, Beaver College, Glenside, Pennsylvania

“The Technological Muse”, Katonah Art Museum, Katonah, New York

”Hybrid Neutral: Modes of Abstraction and the Social”, 1988-1990 traveling exhibiton organized and circulated by Independent Curators Inc., New York

“The Shadow of Presence”, Galerie Charles Cartwright, Paris

“Status of Sculpture”, 1990-1991, ELAC Art Contemporain, Lyon, France; Institute of Contemporary Art, London;Kunstmuseum de Hasselt, Hasselt, Belgium; Stiftung Starke, Gemeinnutzige Kunststiftung, Berlin, Germany

“Spellbound”, Marc Richards Gallery, Los Angeles

1989

“Baldessari, Rauschenburg, Rosenquist, Hsu, Quentel”, Ernst Busche Gallery, Cologne, Germany

“Einleuchten - Will, Vorstel & Simul”, Deichtorhallern, Hamburg, West Germany

“Painting Beyond the Death of Painting”, Kuznetsky Most Exhibition Hall, Moscow

“The Silent Baroque”, Galerie Thaddaeus Ropac, Salzburg

“Nonrepresentation (The Show of the Essay)”, Annie Plumb Gallery, New York

1988

“The Binational - American Art of the late 80’s”, Institute of Contemporary Art & The Museum of Fine Arts, Boston, Massachusetts; Stadtische Kunsthalle, Kunstsammlung Nordrhein-Westfalen & Kunstverein fur die Rheinlande and Westfalen Dusseldorf, West Germany

“Art a the End of the Social”, Rooseum, Malmo, Sweden

“A New Generation of the 1980’s: American Painters and Sculptors”, The Metropolitan Museum of Art, New York

“Complexity & Contradiction”, Scott Hanson Gallery, New York

“The Inside and the Outside”, Rhona Hoffman Gallery, Chicago

“Drawings”, Laurie Rubin Gallery, New York

“New York Art Now” (Parat II), Saatchi Collection, London, England

1987

“Leo Castelli y Sus Artistas”, Centro Cultural Arte Contemporaneo, A.C., Mexico City, Mexico

“Primary Structures”, Rhona Hoffman Gallery, Chicago

“Sculptures”, Galerie Charles Cartwright, Paris, France

“NY New Art”, Mayor Rowan Gallery, London, England

“Locations”, Galerie Thaddeus Ropac, Salzburg and Galerie im Taxispalais, Innsbruck, Austria

“The Ironic Sublime”, Galerie Albrecht, Munich, West Germany

“The Antique Future”, Massimo Audiello Gallery, New York

“Armleder, Artschwager, Hsu”, Pat Hearn Gallery, New York

1986

“Modern Sleep”, American Fine Arts Gallery, New York

“As Sculpture”, Daniel Newburg Gallery, New York

1985

“Brave New World - A New Generation”, Charlottenburg Exhibition Hall, Copenhagen, Denmark

“More Than Meets the Eye”, Fabian Carlson Gallery, London, England

“Emily, Anna & Tishan: The First Generation”, Asian Arts Institute, New York

1984

“Invitational”, Matthews Hamilton Gallery, Philadelphia

“Brilliant Color”, Baskerville + Watson Gallery, New York

“Update”, White Columns, New York

1983

“Berkshire Art Museum, Pittsfield, Massachusetts

“Terminal Show”, Brooklyn, New York

1981

“Arabia Felix”, Art Galaxy, New York

2019

Benhamou-Huet, Judith. “Art Basel Hong Kong: le futur de l’art est en Asie.” Les Echos, March 28, 2019

Harris, Gareth. “Overlooked, but not forgotten: Tishan Hsu presents first solo gallery show in over 20 years.” Art Newspaper, March 25, 2019

Loos, Ted. “The World Catches Up with Tishan Hsu.” New York Times, March 27, 2019

Ng, Brady. “Tishan Hsu: Delete.” ArtAsiaPacific, no. 113 (May/June 2019): 129

Ugelvig, Jeppe. “Tishan Hsu.” ArtReview Asia 71, no. 3 (April 2019): 76–83

2018

Goyanes, Robert. “Once Deemed Too Weird for the 1980s Art World, Tishan Hsu Is Back.” Artsy, January 30, 2018

Kennicott, Philip. “The 1980s New York art world was cynical and crass. Should we be honoring it?” Washington Post, February 14, 2018

Ugelvig, Jeppe. “Gallery-as-Form: ‘The Conditions of Being Art’ at the Hessel Museum of Art.” Afterall, October 4, 2018

2017

Moran, Laura. “Focus on the Collection: Tishan Hsu’s Liquid Circuit.” Weisman Art Museum website, Spring 2017

2015

Schwabsky, Barry. “Sascha Braunig: Foxy Production.” Artforum International 53, no. 10 (Summer 2015): 356

2003

Rubinstein, Raphael. “Whose 1980s?” Art in America 91, no. 12 (December 2003): 35–39

1997

Cotter, Holland. “Art in Review: Techno Seduction.” New York Times, February 7, 1997

Hsu, Tishan. “Tishan Hsu.” Art Journal 56, no. 1, “Aesthetics and the Body Politic” (Spring 1997): SS17

1993

Miller, Donald. “Artists master technologies at city galleries.” Pittsburgh Post-Gazette, March 13, 1993

1991

Bruyen, Eric de. “Mind Over Matter,” Forum International (June 1991): 80–81

Cotter, Holland. “Deconstructed Painting: Some Younger Artists in the 1980s.” Art Journal 50, no. 1 (Spring 1991): 79–82

D’Amato, Brian. “Mind Over Matter.” Flash Art 24, no. 156 (January/February 1991): 134

Dubrow, Norman. “The Neo Tendencies of the Late 1980s.” Drawing (March/April 1991): 121–25

Hayt-Atkins, Elizabeth. “Envisioning the Yesterday of Tomorrow and the Tomorrow of Today.” Contemporanea, no. 24 (January 1991): 76

Puvogel, Renate. “Status of Sculpture.” Kunstforum International, no. 113 (May/June 1991): 335–38

Renton, Andrew. “Status of Sculpture.” Flash Art 24, no. 156 (January/February 1991): 137–38

Richard, Paul. “Abstract and Personal: At the Corcoran Biennial, A Passionate Bow to the Past.” Washington Post, September 6, 1991

Schultz, Heinz. “À la Bibliothek.” Kunstforum International, no. 111 (January/February 1991): 336–37

1990

Brenson, Michael. “Review/Art: In the Arena of the Mind, at the Whitney.” New York Times, October 19, 1990

Cooke, Lynne. “Mind Over Matter. New York, Whitney Museum.” Burlington Magazine 132, no. 1053 (December 1990): 899

Jennings, Rose. “The Status of Sculpture.” City Limits, September 27, 1990, 72

Larson, Kay. “Every Object Tells a Story.” New York Magazine, October 29, 1990, 64–65

Smith, Roberta. “Review/Art: The Group Show as Crystal Ball.” New York Times, July 6, 1990

Soulillou, Jacques. “The Shadow of Presence.” Art Press, 146 (April 1990): 83

Taylor, John Russell. “Shapes and Assemblies.” The Times (London), October 5, 1990

1989

Atkins, Robert. “Tishan Hsu.” 7 Days, May 3, 1989, 64

Avgikos, Jan. “The Binational, ICA Boston.” Artscribe International 76 (Summer 1989): 83–84

Harrison, Katharine. “Tishan Hsu, Pat Hearn.” Flash Art, no. 147 (Summer 1989): 149–50

Heartney, Eleanor. “Homeward Unbound.” Sculpture (September/October 1989): 20–23

Kuspit, Donald. “Tishan Hsu.” Artforum International 27, no. 10 (Summer 1989): 136–37

Leigh, Christian. “Art on the Verge of a Nervous Breakdown.” Contemporanea, January 19, 1989, 99–103

Levin, Kim. “Umbilical Cords.” Village Voice, April 25, 1989, 91

Smith, Roberta. “Tishan Hsu, Pat Hearn Gallery.” New York Times, April 21, 1989

Zaya, Octavio. “Social Security: Interview with Tishan Hsu.” Balcón 4 (Fall 1989): 108–21

Zinsser, John. “Tishan Hsu.” Journal of Contemporary Art 2, no. 1 (Spring/Summer 1989): 23–32

1988

Silver, Joanne. “Hsu’s works link human and machines.” Boston Herald, May 27, 1988

Bonetti, David. “High Quality Tech.” Boston Phoenix, May 20, 1988

Collins, Tricia, and Richard Milazzo. “Tropical Codes III.” Kunstforum 92 (December/January 1987–88): 126–29

Joselit, David. “Investigating the Ordinary: Young Artists Who Take Domestic Existence as Their Central Metaphor.” Art in America 76, no. 5 (May 1988): 148–55

Ottmann, Klaus. “Tishan Hsu: The Suburban Dream of Modernism.” Flash Art, no 139 (March/April 1988): 106–7

Plagens, Peter. “The Emperor’s New Cherokee Limited 4x4.” Art in America 76, no. 6 (June 1988): 23–24

Temin, Christine. “Hsu Tackles Some of the Big Issues.” Boston Globe, May 19, 1988

1987

Cotter, Holland. “Tishan Hsu at Castelli and Pat Hearn.” Art in America 75, no. 9 (September 1987): 173

Hart, Claudia. “Tishan Hsu.” Artscribe International 63 (May 1987): 52–56

Jinkner-Lloyd, Amy. “Ti Shan Hsu.” Art Papers 11, no. 3 (May/June 1987): 48–49

Kuspit, Donald. “Tishan Hsu.” Artforum International 26, no. 1 (September 1987): 122

Liebmann, Lisa. “M.B.A. Abstractionism.” Flash Art, no. 132 (February/March 1987): 86–89

McCoy, Pat. “‘The Antique Future,’ Massimo Audiello.” Artscribe International 64 (Summer 1987): 77–78

Smith, Roberta. “Where to See the Newest of the New American Art.” New York Times, May 1, 1987

Talley, Dan R. “Hsu Couples Disparate Elements in ‘Unnamable’ Works,” Creative Loafing (Atlanta, GA), February 28, 1987

Wei, Lilly. “Talking Abstract: Part II.” Art in America 75, no. 12 (December 1987): 112–29, 171

Woodruff, Mark. “‘The Antique Future’: Articulating the Void.” New Art Examiner 14, no. 10 (June 1987): 36–37

1986

Indiana, Gary. “Ti Shan Hsu: A Chat.” Village Voice, June 24, 1986, 75

Kuspit, Donald. “Ti Shan Hsu at Pat Hearn.” Artscribe International 59 (September/October 1986): 76

McGill, Douglas. “Art People.” New York Times, October 17, 1986

Schwabsky, Barry. “Ti Shan Hsu.” Flash Art, no. 130 (October/November 1986): 74–75

Zimmer, William. “A Rarefied Atmosphere in the Feisty East Village.” New York Times, November 7, 1986

1985

Bohm-Duchen, Monica. “Nine Painters from New York.” Flash Art, no. 124 (October/November 1985): 56

Cecil, Sarah. “Ti Shan Hsu.” Art News 84, no. 5 (May 1985): 124–25

Edelman, Robert. “Ti Shan Hsu at Pat Hearn.” Art in America 79, no. 7 (July 1985): 131–32

Mueller, Cookie. “Review.” Details Magazine, April 1985, 71–72

1984

Warren, Ron. “Brilliant Color.” Arts Magazine 58, no. 8 (April 1984): 38–39

1997

Heartney, Eleanor. “Art in the Nineties: A Mixed Prognosis.” In Critical Condition: American Culture at the Crossroads. Cambridge: Cambridge University Press

Rindler, Robert, Deborah Willis, Holly Block, Deborah Bright, David Deitcher, and Berta M. Sichel. Techno.Seduction: An Exhibition of Multimedia Installation Work by Forty Artists. New York: Cooper Union for the Advancement of Science & Art

1996

Balken, Debra Bricker. Natural Spectacles. Providence, RI: David Winton Bell Gallery, Brown University

1992

Pouillon, Nadine, and Anne Bonnin. Regard Multiple–Acquisitions de la Société des Amis du Musée National d’Art Moderne. Paris: Centre Georges Pompidou

1991

42nd Biennial Exhibition of Contemporary American Painting. Washington, DC: Corcoran Gallery of Art

1990

Armstrong, Richard. Mind Over Matter: Concept and Object. New York: Whitney Museum of American Art

Brunon, Bernard. Status of Sculpture. Lyon, France: Espace lyonnais d’art contemporain

Fairbrother, Trevor, and Paula Marincola. Culture in Pieces: Other Social Objects. Glenside, PA: Beaver College Art Gallery

Fellin-Yeh, Susan. The Technological Muse. Katonah, NY: Katonah Museum of Art

Galerie Charles Cartwright. The Shadow of Presence: Marina Abramovic, Tishan Hsu, Franz Ehrard Walther, Franz West. Amsterdam: Libra Blu

Leigh, Christian. The Silent Baroque. Salzburg, Austria: Galerie Thaddaeus Ropac

1988

Collins, Tricia, and Richard Milazzo. Art at the End of the Social: Rooseum. Malmö, Sweden: Rooseum Center for Contemporary Art

Collins, Tricia, Richard Milazzo, and Gary Indiana. Hybrid Neutral: Modes of Abstraction and the Social. New York: Independent Curators Incorporated

Kuspit, Donald. “Tishan Hsu.” In Locations, 27–31. Innsbruck, Austria: Tiroler Landesgalerie

Leigh, Christian. “Backward and Forward.” In Complexity and Contradiction. New York: Scott Hanson Gallery

Ross, David A., Jürgen Harten, Trevor J. Fairbrother, David Joselit, and Elisabeth Sussman. The Binational: American Art of the Late 80s, German Art of the Late 80s. Cologne, Germany: DuMont

Tishan Hsu: Paintings; MIT List Visual Arts Center, May–June 26, 1988. Essay by Dana Friis-Hansen. Cambridge, MA: MIT List Visual Arts Center

1987

Cameron, Dan. NY Art Now: The Saatchi Collection. Milan: Giancarlo Politi Editore

Collins, Tricia, and Richard Milazzo. The Ironic Sublime. Munich: Galerie Albrecht

Fairbrother, Trevor. Tishan Hsu. New York: Leo Castelli Gallery and Pat Hearn Gallery

King, Elaine A., and Tishan Hsu. Tishan Hsu: Drawings, Paintings, and Sculpture. Pittsburgh: Carnegie Mellon University Art Gallery

1986

Ti Shan Hsu: New Geometries, Conscious Objects and OTHER Matter. New York: Pat Hearn Gallery

1985

Lee, Robert, and John Yau. Emily, Anna & Ti-Shan: The First Generation. New York: Asian Arts Institute