John Stezaker

John Stezaker

John Stezaker

3rd Person Series
The Pursuit I, The Pursuit II, The Pursuit III, The Pursuit IV, The Pursuit V, The Pursuit VI, The Pursuit VII, 2011
7 9/10 x 5 2/5 in. each framed
Courtesy of the artist and Petzel, New York

Born 1949 in Worcester, England
Lives and works in LondonEducation

Slade School of Art, London

Solo Exhibitions

One on One, Tel Aviv Museum of Art
Nude and Landscape, Petzel Gallery, New York

Galerie Gisela Capitain, Cologne
Mildred Lane Kemper Art Museum at Washington University, St. Louis, St. Louis, curated by Karen Butler
Marriage, curated by Annemarie Sawkins, Haggerty Museum of Art at Marquette University, Milwaukee
The Nude and Landscape, curated by Sid Sachs, University of the Arts, Philadelphia

Mudam Luxembourg, Musée d’Art Moderne Grand-Duc Jean. Luxembourg
Whitechapel Gallery, London
Friedrich Petzel Gallery, New York

John Stezaker: Silkscreens, Capitain Petzel, Berlin
Art Unlimited (Galerie Gisela Capitain), Basel
The Approach, London

Galerie Gisela Capitain, Cologne
The Bridge, Friedrich Petzel Gallery, New York

A Palazzo Gallery, Brescia
Galerie Dennis Kimmerich, Düsseldorf
GAK- Gersellschaft für Aktualle Kunst Bremen, Bremen

Two part show: London/Karsten Schubert (September – November), The Approach, London
(October – November)
The Rubell Family Collection, Miami
Stills Gallery, Edinburgh
Open Eye Gallery, Liverpool
Project Room, Yvon Lambert, Paris

The Approach, London
Galerie Dennis Kimmerich, Düsseldorf
Richard Telles Fine Art, Los Angeles
Bridges and Other Metaphors, Norwich Gallery, Norwich
John Stezaker, White Columns, New York

Archiv & Erzählung [Archives and Narration]: John Stezaker and T.J. Wilcox, Kunstverein
Muenchen, Münich

Third Person Archive and Other Works, The Approach, London

The Holy Land Series, Wigmore Fine Art, London

Angels, Portfolio Gallery, Edinburgh

Garden, Cubitt Gallery, London

Care & Control, Salama-Caro Gallery, London

Film Still Collages, Friedman-Guinness Gallery, Frankfurt (cat.)

John Stezaker: New Work, Salama-Caro Gallery, London (cat.)
Glenn Dash Gallery, Los Angeles

Lisson Gallery, London

Galerie Éric Fabre, Paris
Werke 1973-1978, Kunstmuseum Luzern, Kunstmuseum, Luzern (cat.)
Ikon Gallery, Birmingham
The World Made Flesh, The New ’57 Gallery, Edinburgh (cat.)

Fragments, Photographer’s Gallery, London (cat.)
Collages, 1977-1978, Ikon Gallery, Birmingham (cat.)
Southampton City Museum, Southampton

Dream Alledgories: John Stezaker Collages, 1976-1977, Nigel Greenwood Gallery, London (cat.)
Galerie Éric Fabre, Paris
Schema Gallery, Florence
Spectro Arts, Newcastle

Nigel Greenwood Gallery, London
Trois Oeuvres [Three Works], Galerie Éric Fabre, Paris (cat.)

Nigel Greenwood Gallery, London
Galerie Éric Fabre, Paris

Galerie Decembre, Münster
Galleria Lia Rumma, Rome
Galleria Lia Rumma, Naples

The Museum of Modern Art Oxford, Oxford

Beyond Art for Art’s Sake: a Propus Mundus, Nigel Greenwood Gallery, London (cat.)

Works, 1969-1971, Sigi Krauss Gallery, London (cat.)

Group Exhibitions

You Imagine What You Desire, 19th Beinnale of Sydney, Sydney

Something about a Tree, curated by Linda Yablonsky, Flag Art Foundation, New York
Frank Egloff & John Stezaker: Visible Merge, Barbara Krakow Gallery, Boston, Massachusetts

Remix: Selections from the Internationall Collage Center, Daum Museum of Contemporary
Art, Sedalia, MO
The Feverish Library, curated by Matthew Higgs, Friedrich Petzel Gallery, New York
The Deutsche Börse Photography Prize exhibition. The Photographers’ Gallery. London
Collages, curated by Timothée Chaillou, Galerie Thaddaeus Ropac, Paris
D’apres Giorgio, curated by Luca Lo Pinto, Fondazione Giorgio e Isa de Chirico, Rome

Versschiebungsersatz, curated by David Rimanelli, Kimmerich, New York
Make Up, curated by Mariuccia Casadio, Apallazzo Gallery, Brescia
Remix: Selections from the International Collage Center, Samek Art Gallery, Bucknell University, Lewistown
Transmitter/Receiver: The Persistence of Collage from The Arts Council Collection, MIMA:
Middlesbrough Institute of Modern Art, Middlesbrough

The Page, curated by John Stezaker and Mattehw Higgs, Kimmerich, New York

Museum of Modern Art, Menschel Gallery, New York
Source Codes, Sprueth Magers Berlin, Berlin
The Quick and the Dead, Walker Arts Center, Minneapolis
Le sang d’un poète, FRAC des Pays de la Loire, Nantes
Two person show with Rita Ackermann, curated by Matthew Higgs, Galerie Meyer Kainer, Vienna
In the Pines, David Risley Gallery, Copenhagen
Rodeo Gallery, Istanbul
William Horner & John Stezaker, The Russian Club Gallery, London

No So Subtle Subtitle, curated by Matthew Brannon, Casey Kaplan, New York
Collage: The Unmonumental Picture, New Museum, New York
Martian Museum of Terrestrial Art, Barbican Art Gallery, London
Past-Forward, 176, The Zabludowicz Collection, London
Cohabitation: 13 Artists and Collage, Francesca Kaufmann, Milan

Panic Attack, Barbican Art Gallery, London
Strange Events Permit Themselves the Luxury of Occurring: Selected by the artist Steven
Claydon, Camden Arts Centre, London

Dereconstruction, curated by Matthew Higgs, Barbara Gladstone Gallery, New York
Figures of the Player: The Paradox of the Actor, Collection Lambert en Avignon, Avignon
A Season in Hell, Danielle Arnaud Gallery, London
World Gone Mad: Surrealist Returns in Recent British Art, Herbert Read Gallery,
Canterbury; traveling to Castlefield Gallery, Manchester; Limehouse Arts Foundation, London
The Glass Bead Game, Vilma Gold Project Space, Berlin
Tate Triennial 2006 – New British Art, Tate Britain, London (cat.)

TIME LINES, Kunstverein für die Rheinlande und Westfalen, Düsseldorf
Cut, The Approach, London 1979, Bloomberg Space, London
Girls on Film, Zwirner & Wirth, New York
Collage, Signs and Surfaces, Pavel Zoubok Gallery, New York
Mourning, Sies & Hoeke, Düsseldorf
RCA print folio, Royal College of Art, London

Collage, Bloomberg Space, London
Je t’envisage, La disparition du portrait, Musée de L’Elysée, Lausanne
Cara a Cara, Culturgest, Lisbon
About Face, Hayward Gallery, London
Future Face, Science Museum, London
Portraits of Non-Humans, David Risley Gallery, London
Polaroid, 39 Gallery, London

Ex-press, Royal College of Art, London
Please Take One, 39 Gallery, London

Life is Beautiful, Laing Art Gallery, Newcastle (cat.)

The British Art Show 5, City Art Centre, Edinburgh; traveling to Collective Gallery,
Dean Gallery, Fruitmarket Gallery, Royal Botanic Gardens, Scottish National Gallery of Modern Art, Stills, Talbot Rice Gallery, Edinburgh; John Hansard Gallery, Millais Gallery, Southampton Institute, Southampton City Art Gallery, Southampton; Centre for Visual Arts, Chapter Arts Centre, Fotogallery, National Museum & Gallery, Cardiff; Birmingham Museum and Art Gallery, Ikon Gallery, Birmingham (cat.)

23rd Ljubljana International Biennial of Graphic Art, British Section, Mednarodni grafi nilikovni center, Ljubljana
River Deep, Mountain High, Gallery Westland Place, London; traveling to University of
Dundee, Duncan and Jordanston Gallery, Dundee

American and European Photo-art, Larem Kloker Gallery, Vienna
2nd Shoreditch Photography Biennial, London
Chemical Traces/Photography and Conceptual Art, 1968-1998, Ferens Art Gallery, Hull
City Council, Kingston upon Hull; traveling to Leeds City Art Gallery, Leeds (cat.)

Pictura Brittanica: Art from Britain (British Council), Sydney Museum of Contemporary
Art, Sydney, Australia; traveling to Art Gallery of South Australia, Adelaide; Museum of New Zealand, Te Papa Tongarewa, Wellington
Strange Days, Contemporary British Photography, Galleria Gian Ferrari, Milan (cat.)
Sad, Gasworks, London
The Quick and the Dead, Royal College of Art, London
The Impossible Document: Photography and Conceptual Art in Britain, 1966-1976,
Cameraworks Gallery, London; traveling to Cambridge Darkroom Gallery, Cambrige
Icons, touring exhibition, Tokyo, Kyoto, Hong Kong
Life/Live: Young British Art, Musée d’Art Moderne de la Villle de Paris, Paris; traveling to Centro Cultural Belém, Lisbon (cat.)
Various group exhibitions, Bank London (1996, 1997. 1998)

The Body, touring exhibition, Canada

Elvis + Marilyn 2 x Immortal, The Institute of Contemporary Art, Boston; The Contemporary Arts Museum, Houston; The Mint Museum of Art, Charlotte; The Cleveland Museum of Art, Cleveland; The Jacksonville Museum of Contemporary Art, Jacksonville; The Portland Museum of Art, Portland; The Philbrook Academy, Tulsa; The Columbus Museum of Art, Columbus; The Tennessee State Museum, Tennessee; The San Jose Museum of Art, San Jose; The Honolulu Academy of Art, Honolulu; Hokkaido Obihiro Museum of Art, Hokkaido; Daimaru Museum, Umeda-Osaka; Takamatsu City Museum, Takamatsu; Sogo Museum of Art, Yokohama; Mitsukoshi Museum of Art, Fukuoka
The Curator’s Egg, Anthony Reynolds Gallery, London

Who’s Looking at the Family, Barbican Art Gallery, London

Flora Photographica, Serpentine Gallery, London

Art Conceptuel, Formes Conceptuelles, Galerie 1900/2000, Paris

Glenn Dash Gallery, Los Angeles

Altered States, Kent Fine Art, New York
Multiple Vision: Ron Haselden, Colin MacArthur, John Stezaker, Paul Wombel, Cambridge Darkroom Gallery, Cambridge

1984: An Exhibition, Camden Arts Centre, London (cat.)
1983 Geometry of Desire, Galerie Venster, Rotterdam

Simulacra, Riverside Studios, London
Aperto XL, Biennale de Venezia, Venice (cat.)
Close to the Edge, White Columns, New York

Hayward Annual, Hayward Gallery, London

Hayward Annual, Hayward Gallery, London (cat.)
Un certain art anglais..., ARC, Musée d’Art Moderne de la Ville de Paris, Paris
JP2, Palais des Beaux-Arts, Brussels

Art for Society, Whitechapel Art Gallery, London

British Art, Palais des Beaux Arts, Brussels

Art Inglese Oggi, Palazzo Reale, Milan
Times, Words and the Camera, Akademische Druck-U, Graz

9th Biennale de Paris, Paris

Project 74, Kunsthalle Köln, Cologne
Critic’s Choice, Tooth’s Gallery, London
Beyond Painting and Sculpture…: works bought for the Arts Council by Richard Cork, Arts
Council touring exhibition to Leeds City Art Gallery, Leeds; Walker Art Gallery,
Liverpool; Arnolfini Gallery, Bristol (cat.)

A Survey of the Avant-Garde in Britain, House Gallery, London
The New Art, Hayward Gallery, London

The Wall Show, Lisson Gallery, London

3 Schools Exhibition, Royal Academy of Arts, London

Three Person Show, Central Collegiate Building, University College, London


Selected Exhibition Catalogues

John Stezaker, London: Published by Ridinghouse, in association with Whitechapel
Gallery, Mudam Luxembourg, and Mildred Lane Kemper Art Museum
John Stezaker: Silkscreens, London: Galerie Gisela Capitain, Friedrich Petzel Gallery,
The approach, in association with Ridinghouse

De Vries, Janneke, et al. Fumetti. Köln: Verlag der Buchhandlung Walther König, published on the occasion of John Stezaker, “Fumetti,” GAK Gesellschaft für
Aktuelle Kunst; Distributor Switzerland: Buch; Distributor United Kingdom and
Eire: Cornerhouse Publications; Distributor Outside Europe: D.A.P/Distributed Art Publishers, Inc.

O’Reilly, Sally, Johanna Malt and JJ Charlesworth. World Gone Mad: Surrealist
Returns in Recent British Art. London: Castlefield Gallery Publications.2005
Collage Signs & Surfaces. New York: Pavel Zoubok Gallery.

Higgs, Matthew, et al. The British Art Show 5. London: Hayward Gallery
Publishing; Distributor North America, South America and Canada: University of
California Press; Distributor Elsewhere: Cornerhouse Publications.

Mellor, Alan. Chemical Traces: Photography and Conceptual Art, 1968-1998.
Kingston upon Hull: Ferens Art Gallery; Kingston upon Hull City Museums & Art
Brooks, Rosetta. Altered States. New York: ZG Productions.

Bickers, Patricia, et al. Pictura Britannica: Art from Britain. Sydney: Museum of
Contemporary Art, Sydney.
Roberts, John, ed. The Impossible Document: Photography and Conceptual Art in
Britain, 1966-1976. London: Camerawork.
Williams, Gilda. Strange Days: British Contemporary Photography. Milan: Charta.
Obrist, Hans-Ulrich, ed. Life/Live: Young British Art. Paris: Musée d’Art Moderne
de la Ville de Paris.

Büchler, Pavel and Nikos Papastergiadis, eds. Random Acccess: On Crisis and its
Metaphors. London: Rivers Oram Press; Concord, MA: Paul and Company.

Petherbridge, D. and J. Richardson. 1984: An Exhibition. London: Camden Arts Centre.

Ncis, R. Fra. Hayward Annual 1979. London: Hayward Gallery.
Fuchs, Rudolf Herman. Languages: An Exhibition of Artists Using Word and Image. London: The Arts Council of Great Britain.

Reichardt, Jascia. Time, Words and the Camera. British Council, Akademische Druck-U. Verlagsabstalt, Graz.

Cork, Richard. Beyond Painting and Sculpture…: Works Bought for the Arts Council by Richard Cork. London: The Arts Council of Great Britain.

Campbell, Robin and Anne Seymour. The New Art. Hayward Gallery. London: The Arts Council of Great Britain.

Selected Surveys and Collections

Clearwater, Bonnie, Celebrity Equinox, International Corporate Art, p. 14 .

Craig, Blanche, ed. Collage: Assembling Contemporary Art. London: Black Dog Publishing.
Front cover and images pp. 7, 42, 43, 81, 91, 92.

Burgin, Victor, et al. Stillness and Time: Photography and the Moving Image. London: Photoworks.
Taylor, Brandon. Collage: The Making of Modern Art. London: Thames and Hudson.

Campany, David, ed. Art and Photography, London and New York. London and New York: Phaidon Press.

Bayrle, Thomas. Vitamin P: New Perspectives in Painting. London and New York:
Phaidon Press.

Patrizio, Andrew. The Tree Series, Two Nine Two: Essays in Visual Culture.
Edinburgh: Faculty of Art & Design, Edinburgh College of Art.

Roberts, John. The Art of Interruption – Realism, Photography and the Everyday.
Manchester and New York: Manchester University Press.

Steyne, Juliet, ed. Pretext: Heteronyms. London: Rear Window Arts Trust.

Williams, Val, ed. Who’s Looking at the Family. London: Barbican Art Gallery.
McDaris, Wendy and Geri de Paoli. Elvis & Marilyn: 2 x Immortal. New York: Rizzoli.
Walker, John Albert. Art in the Age of Mass Media. Boulder: Westview Press.
Ewing, William. The Body: Photpgraphs of the Human Form. San Francisco: Chronicle Books.

Selected Interviews and Articles

Sean O’Hagan, John Stezaker: ‘cutting a photograph can feel like cutting through flesh,’ The Guardian, March 27, 2014.
Hans Pietsch, Bilderfinder, Art, February 2014, pp. 5, 48-56.

Portfolio: Mothers, Monopol, November 2013, pp. 14, 83, 92.
Nicolas Roeg, Who Would Believe It?, Frieze, October 2013.
John Stezaker – Working from the Collection, Manystuff, July 3, 2013.
More than 40 new collages and three films by John Stezaker on view at Capitain Petzel,, July 3, 2013.
Jim Powell, The month in photography – audio slideshow, The Guardian, June 27, 2013.
Harpers, June/July 2013, p. 27.
Rick Poynor, John Stezaker: Images from a Lost World, The Living Principles, March 6,
Cate McQuaid, What’s up at Boston-area art galleries, The Boston Globe, February 19, 2013.

Phillips, Sarah (interviewer), John Stezaker’s best photograph,, August 8, 2012 Khan, Tabish, Art Review: The Deutsche Börse Prize@The Photographers’ Gallery,, July 20, 2012 (ill.)
O’Hagan, Sean, The Deutsche Börse photography prize – review,, July 14, 2012
Searle, Adrian, The Deutsche Börse photography prize,, July 10, 2012 (ill.)
Davies, Lucy, The witty collages of John Stezaker,, June 21, 2012 (ill.)
John Stezaker’s uncanny couplings,, April 19, 2012, (ill.)
Russell, Stefene, Out and About: The Eyes Have Hills, StlMag, March 2012, pp. 208-209, (ill.).
Wilson, Calvin, Artist Gives Old Photographs New Life, St. Louis Post Dispatch, February 19, 2012, pp. D1, D8, (ill.).
Wilson, Calvin, Stezaker pairs images in collages for unsettling results,, February 18, 2012, (ill.).
Taylor, Allison, John Stezaker: Educator’s Guide, Mildred Lane Kemper Art Museum, January 2012, pp. 2-6, (ill.).
Reddin, Matthew, On Stage 1/17: Milwaukee pays homage to classic and sequels, Thirdcoast
Digest, January 17, 2012, online, (ill.).
Schumacher, Mary Louise, Gallery Night Picks and Mainstays, Journal Sentinel, January 18, 2012, online.
Editor, John Stezaker: Retrospective, West End World, January 14, 2012, online.

Newhall, Edith, Galleries: John Stezaker landscape and nude collages displayed at the University of the Arts, The Philadelphia Inquirer, November 13, 2011, online.
Stuhmer, Marcelino, John Stezaker: The Nude and Landscape, Title Magazine, November
10, 2011, online, (ill.).
Devereux, Tamsin, John Stezaker: A Conversation with the Artist- Picture This, Laurent
Delaye Gallery, London, October 16, 2011, video, (ill.).
Walker, John A., Shaped Canvas (1992), artdesigncafe, June 17, 2011, online.
Colbert, Joerg, Review: John Stezaker (Ridinghouse/Whitechapel),, Feb 25, 2011 (ill.).
Dillon, Brian, What a carve up, The Guardian, Review: Arts, Saturday January 29, 2011, pp. 16-17.
Sherwin, Skye, John Stezaker: London, theguardian guide, exhibitions, Saturday 29 January – Friday 4 February, 2011, p. 39.
Ways of Seeing, Camden New Journal, No 1491, Review: The Big Picture, January 27, 2011, p. 16.
Laster, Paul, John Stezaker: Friedrich Petzel Gallery, Time Out New York, January 27 – February 2, 2011, p. 37.
Herbert, Martin, John Stezaker: Whitechapel Gallery, Artforum, Previews, January 2011, p. 101.
Eichler, Dominic, John Stezaker: Capitain Petzel, Frieze, Issue 136, January-February 2011, p. 126.

Herbert, Martin, Third Life, Artforum, April 2010, p. 160-167.
Charlesworth, J.J. John Stezaker: Tabula Rasa/The Approach, Art Review, Issue 40, April
2010, pp 22-24.
2009 Merjian, Ara H., Exhibition Reviews, Art in America, December 2009, pp. 138-139.
Herbert, Martin. Celebrity Files, Modern Painters, May 2009, pp. 26-29.
Guiotto, Giampietro. John Stezaker: Anthropology of a Potential Humanity, Inside 21:
Contemporary Culture Magazine, Spring 2009, pp. 40 – 45.
Moltani, Claudio. Ipercollage, Activa, April 2009, pp. 130-135.
Maine, Stephen. Reviews: John Stezaker, Art in America, June-July 2009, pp. 188-189.
Wilson, Michael. Reviews: John Stezaker, Artforum, May 2009, p. 235.
Allsop, Laura. Consumed: 08. ArtReview 30, March 2009, p. 38 .
Collings, Matthew. No. 6 ICONS. ArtReview 30, March 2009, pp. 42-44.
John Stezaker, The New Yorker, March 23, 2009, p. 12.
Johnson, Ken. “Art in Review, John Stezaker: The Bridge,” The New York Times,
March 20, 2009, p. C27.

Schwabsky, Barry, “A Double or Contradictory Feeling”: Collage as Humor, John Stezaker:
Fumetti, 2008, pp. 104-107.
Conversation between David Lillington, John Stezaker and William Horner, John: Stezaker: Fumetti, 2008, pp. 82-98.
“The Power 100.” Art Review Oct. 2008: Front cover and interview, pp. 94-95, images pp. 107, 123, 143, 148.
Illington, David (interviewer). “A Conversation with John Stezaker.” Collage:
Assembling Contemporary Art, Blanche Craig, ed. London: Black Dog Publishing, interview pp. 20-21, front cover and images pp. 7, 42, 43, 81, 91, 92.
Casadio, Mriuccia. “Cool Europe.” Italian Vogue Feb. 2008: issue 690.
Luke, Ben (interviewer). “New Work: John Stezaker.” Art World Issue 2, December 2007 - January 2008 interview pp. 62-67 with images, front cover.

Green, David. “John Stezaker.” Source Magazine Issue 50, pp. 8-19.
Campany, David. “Recent Work: John Stezaker.” Photoworks May/Oct. 2007: pp. 12-19.
Marsh, Andrew. “Reviews: John Stezaker.” Flash Art Feb. 2007 Vol. XL, No. 252: p. 119.
2006 Núñez-Fernández, Lupe. “Out of the Shadows.” Art Review Mar. 2006 Vol. 62: pp. 76-79.
Fijalkowski, Krzysztof and Lynda Morris. “The Encounter with the Real.” London March 2006.
Kersting, Rita. “Best of 2006.” Artforum Dec. 2006.

Bracewell, Michael (interviewer). “Demand the Impossible.” Frieze Mar. 2005 No. 89: pp. 88-93.
Falconer, Morgan. “Contemporary Art.” Burlington Magazine Feb. 2005 Vol. 147 No. 1223: pp. 130-132.
Slyce, John. “John Stezaker.” Art Monthly Dec. 2004-Jan. 2005 No. 282.
Harris, Mark. “John Stezaker, The Approach, London.” Art in America May 2005.

Slyce, John. “John Stezaker, The Approach, London.” Art Monthly Dec. 2004-Jan. 2005 No. 282.
Herbert, Martin. “John Stezaker, The Approach.” Time Out, December 1-8, 2004: No. 1789.
Pethick, Emily. “Critic’s Pick: John Stezaker, The Approach.” Artforum online.
“John Stezaker.” The Guardian Guide Saturday 2004: Oct. 30-Friday Nov. 5.

Barro, David. “Live in Your Head.” Lapiz 2001: Vol. 20, No. 171 p. 76.
Walker, John A. “A Vexed Trans-Atlantic Relationship: Greenberg and the British.”
Art Criticism 2001: Vol. 16, No. 1, pp. 44-61.

Hunt, Ian. “British Art Show 5.” Art Monthly May 2000 No. 236: pp. 30-33.

Mellor, David Alan. “Fearful Symmetry: John Stezaker.” Portfolio Magazine Jun. 1999 No. 29: pp. 34-39, 58-59.

Stahel, Urs. “Aspects of Contemporary Swiss Art Photography.” History of
Photography Autumn 1998 Vol. 22: pp. 254-260.

“Angels.” Coil 1997, No. 5: pp. 1-2.
Hatton, Brian. “Paraphotography.” Art Monthly Jun. 1997 No. 207: pp. 1-5.

Hall, Charles. “Now Voyager.” Art Review Sep. 1993 Vol. 45: pp. 48-49.

Dannatt, Adrian. “John Stezaker.” Flash Art Oct. 1991 Vol. 24 No. 160: pp. 114-117.
Taylor, Brandon. “Photo/Montage.” AICARC: Bulletin of Archives &
Documentation Centers for Modern and Contemporary Art 1991 No. 29-30: pp. 47-55.

Thomas, Michael J. “The Game-as-Art Form: Historic Roots and Recent Trends.”
Leonardo 1988 Vol. 21 No. 4: pp. 421-423.

Brooks, R. “An Art of Controlled Madness.” Art and Text 1985 No. 17: pp. 22-27.

Brisley, S. and John Stezaker. “Polemics.” Art Monthly Dec. 1982-Jan. 1983 No. 62: pp. 29-31.
de Benito, Eduardo. “Londres: Entre Aquí y La Nada.” Lapiz Jan. 1983 Vol. 1 No. 2: pp. 50-53.
Hatton, Brian. “Simulacra at the Riverside.” Artscribe Feb. 1983 No. 39: pp. 30-34.
Newman, Michael. “Simulacra.” Flash Art Jan. 1983 No. 110: pp. 38-40.

Blakeston, O. “Exhibition Reviews.” Arts Review 1977 Vol. 29 No. 12, pp. 398-399.

“John Stezaker.” Flash Art 1976 No. 66-67: p. 23.
Brooks, R. “Please, No Slogans.” Studio International 1976 Vol. 191 No. 980: pp. 155-161.
Morris, L. “English Art Today.” Data Mar.-Apr. 1976 No. 20: pp. 45-46, 53-59.
Tagg, J. “John Stezaker.” Studio International May-Jun. 1976 Vol. 191 No. 981: pp. 309-310.
Taylor, Brandon. “The Avant-Garde and St. Martin’s.” Artscribe Sept.-Oct. 1976 No. 4: pp. 4-7.

Politi, G. and J.L. Allexant. “Paris Biennial.” Flash Art Nov. 1975 No. 58-59: p. 14.
Smith, P. “Conversation with John Stezaker.” Studio International Mar.-Apr. 1975 Vol. 189, No. 974: pp. 130-132.

Blakeston, O. “John Stezaker, Nigel Greenwodd, London.” Arts Review 1973 Vol. 30, No. 14: p. 388.
Bowen, D. “John Stezaker, Nigel Greenwood, London.” Arts Review 1973 Vol. 25,
No. 22: p. 753.
Brooks, R. “A Survey of the Avant-Garde in Britain.” Flash Art Feb. 1973 no. 39: pp. 6-7.
Brooks, R. “Problem Solving and Question Begging: The Works of Art-Language and John Stezaker.” Studio International Dec. 1973 No. 961 Vol. 186: pp. 276-278.
Stezaker, John. “John Stezaker: Premises.” Flash Art Mar.-May 1973 No. 40: pp. 16-18.

Selected Writings By The Artist

Buchler, Pavel, ed. Conversation Pieces, Manchester: i3 Publications.

Hetherington, Paul, ed., et al. Issues in Art and Education: Aspects of the Fine Art
Curriculum. London: Tate Publishing in association with the Wimbledon School of Art.