Monographs
| 2020 | We Fight to Build a Free world: An Exhibition by Jonathan Horowitz (New York: The Jewish Museum, 2020) [e-publication] |
| 2018 | Simon Castets and Jonathan Horowitz, Leftover Paint Abstractions, Xavier Hufkens (Brussels: Xavier Hufkens, 2018) |
| 2017 | Jonathan Horowitz, Occupy Greenwich (Greenwich: Brant Foundation: 2016) |
| 2015 |
Jason Farago and Jonathan Horowitz, Your Land, My Land: Election ’12, Gavin Brown Enterprise with Hammer Museum (Utah: UMOCA Salt Lake City; Houston: Contemporary Museum; St. Louis: Contemporary Art Museum; Georgia: Telfair Museum Savannah; Georgia; Raleigh: Contemporary Art Museum; New York: ARTBOOK D.A.P, 2015) |
| 2014 |
Elizabeth Peyton and Jonathan Horowitz, Secret Life (London: Sadie Coles HQ and Koenig Books, 2014) Jonathan Horowitz, 402 Dots (New York: Karma, 2014) |
| 2012 | Robert Rosenblum, Roy Lichtenstein and Henry Geldzhler, Self Portraits in “Mirror #1” (New York: Gavin Brown Enterprise, 2012) |
| 2011 |
Graham Domke, Pati Hertling, Leslie Kolbrener, minimalist works from the holocaust museum (Dundee: Dundee Contemporary Arts, 2011) |
| 2010 | Jonathan Horowitz, Go Vegan! (New York: Gavin Brown Enterprise and Ecstatic Peace Library, 2010) |
| 2009 | Lionel Bovier and Kelly Taylor, Jonathan Horowitz: And/Or (Zurich: JRP-Ringier, 2009) |
| 2001 |
Jonathan Horowitz, The Universal calendar (Bonn: Kunstmuseum, 2001) Jonathan Horowitz, Help Name My Cat (St. Gallen: Kunst Halle Gallen, 2001) |
| 1997 | Jonathan Horowitz, Stairmaster Anthology (New York: self-published, 1997) |
Exhibition Catalogues
| 2010 | Sarah Farrar, The Woods That See and Hear (The Netherlands: Uitgever, 2010) |
| 2006 |
Klaus Biesenbach and Georges Bataille, Into Me/ Out of Me (Berlin: Hatje Cantz, 2006) Eric Mezil, Figures de l’acteur: Le Paradoxe du comedien: Collection Lambert en Avignon (Paris: Gallimard, 2006) |
| 2005 |
Elisabeth Bronfen, Georg Franck, Stefan Grissemann, Matthais Dusini, Siegfried Mattl, Thomas, Meistrgang, Florian Steininger, Martin Zeiller and Heike Eipeldauer, Superstars: Das Prinio Prominenz Von Warhol bis Madonna (Berlin: Hatje Catz, 2005) The Wonderful Fund Collection (UK: The Wonderful Fund, 2005) |
| 2003 |
Ingvild Goetz, Stephan Urbaschek, Fernanda Arruda and ZKM Medienmuseum, Fast forward: media art, Sammlung Goetz (Germany: Ingvild Goetz, 2003) Dziewior Yilmaz, Establish relationships. Contextualise (Hamburg: DuMont art and literature publisher, 2003) Love (Bregenz: Magazin 4 Bregenzer Kunstverein, 2003) |
| 2002 |
Liam Gillick and Nicolaus Schafhausen, Dark spring (Kraichtal: Ursula Blickle Stiftung, 2002) Tobias Rehberger, Penelope Curtis Joelle Tuerlinckx and Keith Wilson, The object sculpture (Leeds: Henry Moore Institute, 2002) Gerald Matt, Sabine Folie and Michel Glasmeier, Tableaux Vivants: Lebende Bilder und Attituden in Fotografie, Film und Video (Vienna: Kunsthalle Wien, 2002) |
| 2001 |
Jan Hoet, Jeanne Greenberg, Casino 2001: 1st Quadrennial (Ghent: S.M.A.K, 2001) Bruce Hainley, Mark Sladen and Barbican Art Gallery, The Americans (London: Booth-Clibborn Editions, 2001) Joshua Decter, Justin Hoffmann and Gabriel Mackert, Televisions: Kunst Sieht Fern (Germany: Kunsthalle Wien, 2001) Jennifer Allen, Waling Boers and Bregtje van der Haak, 4free: Ausstellungskatalog, Buro Friedrich (Berlin: Buro Friedrich, 2001) |
| 2000 | Jan Hoet, Over the Edges (Ghent: S.M.A.K, 2000)
Amy Cappellazo, Making time: considering Time as a material in contemporary video & film (Palm Beach: Palm Beach Institution of Contemporary Art, 2000) Christian Holler, Pop Facades: Apparatuses and Codifications (Oberhausen: Oberhausen International Short Film Festival, 2000) |
| 1999 |
Dieter Ronte, Zeitwenden – Ausblick (Koln: DuMont art and literature publisher, 1999) Jan Hoet, S.M.A.K. Stedelijk Museum voor Actuele Kunst / Ghent (Ghent: Ludion, 1999) Jan Hoet, Creating Space for Looking (Ghent: S.M.A.K,1999) |
| 1998 |
Mexican Cultural Institute of New York, Sandra Gering Gallery, Torre de los Vientes, Cambio, cambio (New York: Mexican Cultural Institute of New York, 1998) |
| 1995 |
Geoffrey Young, Looky Loo (New York: New York Sculpture Centre, 1995) |
| 1989 |
Dan Walworth, Document and Dream (New York: Artists Space, 1989) |
General Art Books
| 2015 | Michael Petry, The Word Is Art (London: Thames & Hudson, 2018) p. 140, pp. 192-193 |
| 2002 |
Diana Ebster, Fritz Emslander, Mike Kelley, Jessica Morgan, Rainald Schumacher, Birgit Sonna, Katharina Sykora, Matthias Winzen and Katharina Vossenkuhl, Die Wohltat der Kunst: Post/Feministiche Positionen der neunziger Jahre aus der Sammlung Goetz (Cologne: Walther Koenig, 2002) Uta Grosenick and Burkhard Riemschneider, Art Now (Cologne: Taschen GmbH, 2002) |
| 1998 |
Markus Muller and Ulrike Groos, Make it Funky: Crossover between Music, Pop and Avan-Garde art (Cologne: Oktagon, 1998) |
Audio
| 1998 | Jonathan Horowitz, Bach Two Part Invention #9, produced by Jonathan Horowitz, 1998 |
Articles
| 2023 |
Simi Horwitz, ‘His Art Is Chock-Full of American Pop Culture References, So Why Is It More Popular Abroad?’, Forward, 04 May 2023 Quinn Russell Brown, ‘Marilyn Monroe, Freud, Einstein, and Kafka are all at the Weitzman National Museum of American Jewish History’, The Philadelphia Inquirer, 01 May 2023 Cory Sharber, ‘Weitzman National Museum Looks to the Past to Examine Modern Struggles of Inequality with Special Art Exhibit’, WHYY, 23 April 2023 |
| 2022 | Laura Swartz, ‘Of Teacups, Shared Trauma and Shared Destiny: Reflections on the Weitzman’s Reopening’, Philadelphia Magazine, 12 May 2022 |
| 2021 |
Chloe Wyma, ‘Reviews. Jonathan Horowitz. The Jewish Museum’, ARTFORUM, Vol. 59, No. 8., April 2021, p. 134 ‘Studio Visit: Jonathan Horowitz on His Secret Instagram Art Project, and the Joys of Flinging Paint as a Creative Release’, Artnet News, 03 February 2021 Frances Brent, ‘We Fight to Build a Free World: An Exhibition by Jonathan Horowitz’, Moment Mag, 29 January 2021 |
| 2020 |
Chadd Scott, ‘Jonathan Horowitz Puts Hatred On View At Jewish Museum In New York’, Forbes, 23 December 2020 ‘We Fight to Build a Free World: An Exhibition by Jonathan Horowitz’, Xibt Magazine, November 2020 Billy Anania, ‘Where Does Protest Art Fit in the “Canon” of Contemporary Art?’, Hyperallergic, 28 October 2020 Laura Feinstein, ‘We Fight to Build A Free World: a history of artists resisting intolerance’, The Guardian, 08 October 2020 ‘Exhibition Curated By Artist Jonathan Horowitz Explores How Artists Have Responded To Social Injustice’, Broadway World, 24 September 2020 Leslie LaSala, ‘MoCA Westport Announces Its Fall Exhibition, World Peace’, Yahoo! News, 18 September 2020 ‘Brainwashed- Jonathan Horowitz “Apocalyptic Now”’, Haus De Kunst, 15 May 2020 John Schwartz, ‘Worlds of Oppression Art Interwoven in a New York Show’, The New York Times, 08 March 2020 BWW, ‘Exhibition Organized By Jonathan Horowitz Explores Artists' Responses To Social Injustice’, Broadway World News Desk, 21 January 2020 |
| 2019 |
Elizabeth Fullerton, ‘Jonathan Horowitz. Sadie Coles HQ’, Art in America, May 2019, pp. 106 107 Eddy Frankel, ‘Jonathan Horowitz: Pre-Fall ‘17’, Time Out London, 19 March 2019 Lexi Manatakis and Ashleigh Kane ‘Art shows to leave the house for this month’, DAZED, 15 March 2019 ‘Artist Jonathan Horowitz Dissects Contemporary Politics Via Gucci, #MeToo & Beyoncé Visuals’, Something Curated, 12 March 2019 |
| 2018 |
Caroline Goldstein, ‘This Independence Day, See How 15 American Artists Have Reinterpreted the American Flag Throughout History’, Artnet, 04 July 2018 |
| 2017 |
Thea Glassman, ‘How An Image Of Donald Trump Golfing Became Political Artwork’, Forward, 15 February 2017 ‘20 Artists for the Trump Era’ Artsy Editorial, 19 January 2017 Jerry Saltz, ‘Staring at Trump’s Body, What Do You See?’, Artist Jonathan Horowitz Has Produced a Hellish Presidential Portrait’, Vulture Magazine, 31 January 2017 |
| 2016 | Hanne Mugaas, ‘Superimages’ Kaleidoscope, no. 26, Winter 2016, p 73
Christie’s, ‘Post-War & Contemporary Art Auction Preview’ Christie’s, 04 November 2016 Dan Duray, ‘Horowitz throws End-of-the-World Party’, The Art Newspaper, no. 284, November 2016, p. 45 Meg Dalton, ‘’Occupy’ returns to Greenwich in form of Art Exhibit’, Greenwich Time, 25 May 2016 Alexander Forbes, ‘At the Brant Foundation, Jonathan Horowitz Puts Hillary Clinton among the Presidents’, Artsy, 13 May 2016 Stephen Wallis, ‘Jonathan Horowitz Uses Leftover Paint to Make Incredible Art’, Architectural Digest, 11 May 2016 Ally Betker, ‘Jonathan Horowitz Opens “Occupy Greenwich” at the Brant Foundation’, W Magazine, 10 May 2016 Moderated by Hanne Mugaas, ‘Superimages’, Kaleidoscope, Spring 2016, pp. 70 – 71 Robin Pogrebin, ‘A Rare Pollock Sculpture Gets a Home’, The New York Times, 03 March 2016 Alysa Buffenstein, ‘Jonathan Horowitz “Dots” Sensation Comes to Swiss Institute’, artnet, 15 January 2016 |
| 2015 | Colin Gleadell, ‘Basel Buying Fever Keeps Market Hot’, The Telegraph, 23 June 2015, p. 22
Jerry Saltz, ‘At Frieze: Jonathan Horowitz’s Tremendous, Transporting Interactive Project 700 Dots’, Vulture, 15 May 2015 John Chiaverina, ‘Jonathan Horowitz to Commission 700 Black Dot Paintings at $20 a Piece for Frieze New York’, Art News, 07 May 2015 Martin Coomer, ‘Let it Bey’, Time Out London, no. 2325, 21 – 27 April 2015, p. 87 Noah Adler, ‘How to be Perfectly Imperfect, according to Jonathan Horowitz’, Opening Ceremony blog, 07 October 2015 |
| 2014 | Noah Adler, ‘How to be Perfectly Imperfect, According to Artist Jonathan Jorowitz’, Opening Ceremony Blog, 07 October 2014 |
| 2012 | Randy Kennedy, ‘Making Art Out of November’s Election’, Art Beat, 17 August 2012 |
| 2011 |
‘9/11 Ten Years On…’ (extract), Monopol, September 2011 Rosalie Doubal, ‘Jonathan Horowitz’, Time Out, 22 March 2011 |
| 2010 | Steven Cairns, ‘In Conversation: Jonathan Horowitz’, MAP, No. 23, Autumn 2010 |
| 2009 |
Kirsty Bell, ‘State of the Nation’, frieze, November-December 2009, pp. 112 - 117 Alessandro Rabottini, ‘As Tim Gunn Would Say’, Mousse, issue 19, Summer 2009 Jessica Lack, ‘Artist of the Week: Jonathan Horowitz’, Guardian Online, 20 May 2009 Alice Yoo, ‘Rebranding America’, Paper Magazine, May 2009 America AIDS Magazine, May 2009 Steve Pulimood, ‘Jonathan Horowitz: And / Or’, Art in America, 17 April 2009 Daniel Schrieber. ‘Der Diskrete Demokrat’, Monopol, no. 4, April 2009, pp. 74 - 81 Mark Beasley, ‘What To See This Month’, Art Review, issue 30, March 2009 Howard Halle, ‘Review: And/Or’, Time Out New York, p. 19-25, March 2009 Joshua Decter, ‘Reviews: Jonathan Horowitz’, ArtForum, January 2009 Holland Cotter, ‘When a Can of Worms Is Opened, an Artist Does Some Fishing’, The New York Times, 24 February 2009 |
| 2007 |
Simon Baier, ‘Jonathan Horowitz at Galerie Barbara Weiss, Berlin’, Text Zur Kunst 68, December 2009 Sarah Lyall, ‘In London, Art and Commerce Scratch Backs’, New York Times, 13 October 2007 Raimer Stange, Review, ‘People Like War Movies’, Modern Painters, November 2007, p.99 Jorg Heiser, Review, ‘People Like War Movies’, Frieze, October 2007 Eliza Williames, ‘Collecting Overview: Vanessa Branson’, Flash Art, October 2007 RaiMar Stange, Review, ‘People Like War Movies’, Spike Art Quarterly, Fall, 2007, p.110-111 Kara Walker & Jonathan Horowitz, ‘America’, Wrong Times, October 2007 Martin Coomer, ‘Jonathan Horowitz’, Time Out, 27 September – 04 October 2007 |
| 2006 | Roberta Smith, ‘Menace, Glitter and Rock in Visions of Dystopia’, New York Times, 29 December 2006
Ken Johnson, ‘Never Mind the Map: Sometimes New York is More of an Idea’, New York Times, 21 December 2006 Martin Coomer, ‘Review of Rome’, Time Out London, 26 September 2006 Klaus Biesenbach, ‘Into Me / Out of Me’, Flash Art, May/June 2006, p 104 Michael Wang, ‘Scene and Herd: Fair Game’, Artforum.com, 15 March 2006 Jerry Saltz, ‘Biennial in Babylon’, Village Voice, 08 March 2006 |
| 2005 |
Matthew Higgs, ‘Best of 2005’, ArtForum, December 2005 Jonathan Horowitz and Rob Pruitt, ‘A Peacock Hill Family Album’, Photo portfolio, Zing Magazine, no. 20, Winter 2005 David Rimanelli, ‘Scene and Herd: The More the Scarier’, Artforum.com, 21 October 2005 Alison Gingeras, ‘Purple News’, Purple Fashion, no. 3, Spring/Summer 2005 Domenick Ammirati, ‘Jonathan Horowitz’, Contemporary 21, no. 71, 2005 Zoe Gray, ‘Genealogies of Glamour’, Contemporary, no. 70, 2005 Holland Cotter, ‘Log Cabin’, New York Times, 28 January 2005 |
| 2004 | Alison M. Gingeras, ’13 Critics and Curators Look at the Year in Art’, ArtForum 2004
Tirdad Zolghadr, ‘The Future Has a Silver Lining’, Frieze, November – December 2004 Domenick Ammirati, ‘Jonathan Horowitz’, Artforum, October 2004 Evence Verdier, ‘Jonathan Horowitz at Galerie Yvon Lambert, Paris’, Art Press, February |
| 2003 |
Martin Herbert, ‘Pillow Talk’, Time Out London, 30 October 2003 Craig Garrett, ‘Rob Pruitt and Jonathan Horowitz’, Flash Art, No. 232, October 2003 Steve Lafreniere, ‘Rob Pruitt and Jonathan Horowitz with Steve Lafreniere’, Index, September/October 2003 Linda Yablonsky, ‘Review of Dust Memories’, Time Out New York, 19 June 2003, p.60 Kim Levin, ‘Surreal Estate by Jonathan Horowitz and Rob Pruitt at Gavin Brown’s Enterprise, New York’, Village Voice, 11 June 2003 Ken Johnson, ‘Art in Review, Rob Pruitt and Jonathan Horowitz, Surreal Estate at Gavin Brown’s Enterprise’, The New York Times, 06 June 2003 Martha Schwendener, ‘Surreal Estate’, www.artforum.com Keith Mulvihill, ‘American Gothic’, Time Out New York, 29 May 2003 ‘Focus Video and Film: Contemporary Video Art (Part II)', Flash Art, March/April 2003 Chris Hammonds, ‘Pillow Talk’, Tema Celeste, no. 85, February 2003, p.96 ‘Most Underrated Artist’, Time Out New York, 27 February 2003 Roy Exley, ‘Pillow Talk at Sadie Coles HQ’, Flash Art, no. 36 January/February 2003, p.114 Karen Rosenberg, ‘Dust Memories at the Swiss Institute, New York’, Frieze, no. 78, 2003, pp.126-7 |
| 2002 |
Katie Kitamura, ‘Jonathan Horowitz: Pillow Talk’, Contemporary, December 2002 Chivas Clem, ‘Go Vegan! By Jonathan Horowitz at Green Nafalti Gallery, New York’, Time Out New York, 05 December 2002 Ken Johnson, ‘Jonathan Horowitz, Go Vegan! At Green Nafalti Gallery’, The New York Times, 13 December 2002 David Colman, ‘House of 8 Gables, Back in Black’, New York Times: House & Home, 31 October 2002 Martin Herbert, ‘Jonathan Horowitz’, Time Out (London), 30 October - 06 November 2002 Mark Wilsher, ‘Jonathan Horowitz: Pillow Talk’, What’s On, 06 November 2002 Joelle Tuerlinckx, ‘The Object Sculpture at The Henry Moore Institute, Leeds’, Art Monthly, July/August 2002 Anna Dezeuze, ‘The Object Sulpture’, Art Monthly, July/August, 2002 Tom Lubbock, ‘Colourvision’, ‘The Object Sculpture’, Independent Review, 04 June 2002 Harald Fricke, ‘4Free at Bureu Friedrich, Berlin’, Artforum, March 2002 Alex Farquharson, ‘The Americans: New Art’, Artforum, March 2002 |
| 2001 |
Caoimhin Mac Giolla Leith, ‘The Americans: New Art’, Modern Painters, Winter 2001 Matthew Rose, ‘the unexplained explained…sort of…’, art: the magazine - letter from Paris, May 2001 Charles-Arthur Boyer, ‘Jonathan Horowitz/Slater Bradley’, Art Press, vol. 269, 2001 Mark Von Schlegell, ‘Luis Gispert, Jonathan Horowitz, John Williams’, Artext, May-July Illustrations, Issue 5, Spring, vol. 1, no. 5, 2001 Bill Arning, ‘Defeating the Universal Spectator’, NU: The Nordic Art Review, vol. III, no. 1/01, 2001 Holland Cotter, ‘Fresh’: Altoids Curiously Strong Collection’, The New York Times, 19 January 2001 |
| 2000 |
Saul Anton, ‘Openings: Jonathan Horowitz’, Artforum, November 2000, p.142-3 Laura Moffatt, ‘New York Projects’, Art Monthly, September 2000 Martin Coomer, review, Time Out (London), 23-30 August 2000 Ursula Eagly, review, Art News, Summer 2000, p. 210 Christian Haye, ‘Not Afraid of Love’, Dutch, illustrations, May/June 2000, p. 26-7 Sarah Schmerler, review, Time Out, 27 April - 04 May 2000, p.70 Bruce Hainley, ‘Blow Up’, Frieze, May 2000, pp.70-5 Kim Levin, ‘Jonathan Horowitz’, The Village Voice, 25 April 2000 Kim Levin, ‘Voice Choices: Achieving Failure - Gym Culture 2000’, The Village Voice, 12-18 April David Hunt, ‘Pumping Iron’, Time Out, 13-20 April 2000, p.69 Saul Anton, editorial profile, ‘The Jonathan Horowitz Show’, Citysearch, April 2000 Meredith Mendelsohn, ‘Weekend Update’, Artnet, 2000 Carl Skelton, ‘Bewitched’, d’Art International, Winter, 2000, p.36 & 46 |
| 1999 |
Anne Ellegood, ‘A Place Called Lovely’, NY Arts, October 1999 Bernadette Van-Huy & John Kelsey, ‘Tea No. 2: Rob Pruitt and Jonathan Horowitz’, Made in U.S.A., Fall/Winter 1999 Alice Thornson, ‘But Seriously…Or Not’, The Kansas City Star, 04 July 1999 Sue Spade, ‘Seeing Eye-Conceptual Art as Neurobiological Praxis’, Village Voice, 27 April 1999 Jos van der Hamsvoord, ‘American Contemporary Artists’, Artnet academy, vol. 3, March 1999, p.37 Roberta Smith, review, ‘Free Coke’, The New York Times, 26 February 1999 Bill Arning,‘Maxell’, Art in America, January 1999, pp. 98-99 |
| 1998 |
David Barrett, ‘Sex and Drugs and Explosives’, Art Monthly, vol. 196, May 1996 David Fahl, ‘Tune In’, Artlies, Summer 1998, p.19 Sarah Schmerler, ‘Superfreaks: Post Pop & the New Generation - Part I: Trash’, Time Out (New York), 12-19 March 1998 Markus Muller & Ulrike Groos, ‘Make It Funky: Crossover between Music, Pop & Avant-Garde’, Howard the Duck, project for Zing Magazine, Autumn/Winter 1998 |
| 1997 |
J Schulz, ‘Password: Ferdydurke’, World Art, no. 12, 1997 Susan Hapgood, ‘Shit’, Art in America, March 1997, p.109 |
| 1996 |
Charles Dee Mitchell, ‘Eastern Seaboard’, Dallas Morning Star, 28 November 1996 Kim Levin, ‘Voice Choice: Password Ferdydurke’, 12 November 1996 Ellen Pall, ‘The New Dealers’, The New York Times Magazine, 01 September 1996 |
| 1995 |
David Barrett, ‘Sex and Drugs and Explosives’, Art Monthly, May 1995 Jennifer Borum, ‘Looky Loo, High Anxiety’, Artforum, December 1995 |