Craig Kalpakjian
Last updated 05.04.2024 11:29 UTC


Solo exhibitions


  • Broken Waves Sky, Good Weather, Chicago
  • Kai Matsumiya Gallery, New York
  • 2021

  • Oreilles Internaxionales, Basel
  • 2020

  • Kai Matsumiya, New York
  • 2017

  • Kai Matsumiya, New York
  • 2004

  • Galerie Edward Mitterrand, Geneva
  • If You See Something, Say Something, Gallery 2, Andrea Rosen Gallery, New York
  • M-Projects, Paris
  • 2002

  • Andrea Rosen Gallery, New York
  • 2000

  • Robert Miller Gallery, New York
  • 1998

  • Robert Miller Gallery, New York
  • 1997

  • Gallerie Nelson, Paris
  • 1995

  • Galerie Analix, B & L Polla, Geneva
  • 1990

  • Magnascanner 3000, Project Room, Paula Allen Gallery, New York
  • Selected group exhibitions


  • The Commercial Show, Oreilles Internaxionales, Basel
  • Art Basel OVR:2021; Feb 9-12
  • 2021

  • “Missing Target”, Kai Matsumiya, New York
  • Greene Naftali Gallery, East Hampton, NY
  • From Disco to Disco, Greene Naftali Gallery, New York
  • 2019

  • Distance of the Moon, Akron Art Museum, Akron, OH
  • Standalone, Craig Kalpakjian & Andrew Ross, Kai Matsumiya, New York
  • In Real Life: Koenig & Clinton
  • Carriage Trade, New York
  • 2018

  • Photography to End All Photography, Kunstmuseum Brandts, Odense, Denmark
  • Walking Point, Greene Naftali Gallery, New York
  • 2017

  • Truth Bistro, Kai Matsumiya, New York
  • 2016

  • The Sun Placed in the Abyss, Columbus Museum of Art, Columbus, OH
  • Don't Make a Scene, Kai Matsumiya, New York
  • Foundation Barbin, Kai Matsumiya, New York
  • 2015

  • An Expanded Field of Photography, Massachusetts Museum of Contemporary Art, North Adams, MA
  • Works on Paper, Greene Naftali Gallery, New York
  • 2014

  • Vertigo, Joe Sheftel Gallery, New York
  • The Optical Unconscious / Das Optische Unbewusste, Organized by Bob Nickas, Gebert Foundation, Rapperswil-Jona, Switzerland
  • 2013

  • Drone: The Automated Image, Le Mois De La Photo a Montreal, Vox centre de l'image contemporaine, Montreal
  • 2012

  • After Photoshop: Manipulated Photography in the Digital Age, The Metropolitan Museum of Art, New York
  • Blind Cut, curated by Jonah Freeman and Vera Neykov, Marlborough Chelsea Gallery, New York
  • 2011

  • 14 & 15, 885 Third Ave, New York
  • Entertainment, Greene Naftali Gallery, New York
  • 2010

  • Looking Back / The Fifth White Columns Annual, selected by Bob Nickas, White Columns, New York
  • The Evryali Score, curated by Olivia Shao, David Zwirner, New York
  • 2008

  • Reality Check: Truth and Illusion in Contemporary Photography, The Metropolitan Museum of Art, New York
  • Digital With Monument, Silver Shed, New York
  • 2007

  • Bring The War Home, organized by Drew Heitzer, Elizabeth Dee Gallery, New York, and QED, Los Angeles
  • The Happiness of Objects, The Sculpture Center, New York
  • 2006

  • Slow Burn, curated by Jonah Freeman, Galerie Edward Mitterrand, Geneva
  • Middle Ground, Photography from the Whitney Museum of American Art, Miriam & Ira D. Wallach Art Gallery, Columbia University, New York
  • 2005

  • Vanishing Point, The Wexner Center For The Arts, Columbus, OH
  • The Elated Pedestrian, Champion Fine Art, Los Angeles
  • Out of Place, The UBS Art Gallery, New York
  • 2004

  • Photography Reborn, Ramapo College, New Jersey
  • Villette numérique 2004, Parc De La Villette, Paris
  • 2003

  • Filme: Sarah Morris, Darren Almond, Paul Morrison, Craig Kalpakjian, Haluk Akakçe, Galerie Max Hetzler, Berlin
  • The Affair is Over: photography by gallery artists, Andrea Rosen Gallery, New York
  • Nown, curated by Michele Thursz, Wood Street Galleries, Pittsburgh
  • 2002

  • Out of Site: Fictional Architectural Spaces, The New Museum of Contemporary Art, New York
  • Visions from America: Photographs from the Whitney Museum of American Art, 1940–2001, Whitney Museum of American Art, New York
  • Bitstreams, Whitney Museum of American Art, New York
  • Situated Realities, Maryland Institute College of Art, Baltimore
  • 2001

  • 010101: Art In Technological Times, San Francisco Museum of Modern Art, San Francisco
  • 2000

  • Scanner, curated by Larry Rinder, CCAC Institute, California College of Arts and Crafts, San Francisco
  • Dusk, curated by David Hunt, I-20 Gallery, New York
  • Architectural Constructs in Contemporary Photography, Julie Saul Gallery, New York
  • NYC Projects, Delfina Gallery, London
  • The Constructed Real, Elias Fine Art, Boston
  • 1998

  • Super Freaks - Post Pop & The New Generation II: Odyssey
  • 1995

  • Derek Jarman, Craig Kalpakjian, Julia Sher, Andrea Rosen, New York
  • 1992

  • The Real Thing
  • 1991

  • Decorous Beliefs curated by Kenny Schachter, Natalie Rivera, New York
  • 1990

  • Devon Dikeou, Graham Durward, Craig Kalpakjian, Paula Allen Gallery, New York
  • Brut 90, White Columns, New York
  • Societal Images, White Columns, New York
  • 1989

  • American Fine Arts, Co. / Colin De Land Fine Art
  • Collections

  • The Museum of Modern Art, New York
  • The Metropolitan Museum of Art, New York
  • The Art Institute of Chicago, New York
  • The Whitney Museum of American Art, New York
  • The San Francisco Museum of Modern Art
  • Centre Pompidou, Paris
  • Yvonne Force & Leo Villareal, New York
  • Tom Ford & Richard Buckley, Santa Fe, New Mexico
  • Jane Furse & John Friedman, New York
  • Group Lhoist Collection, Belgium
  • Olivier Renaud-Clémont, New York
  • Sebastian Sainsbury, London
  • Kenny Schachter & Ilona Rich, London
  • Hedi Slimane, Paris

  • craig (at)

    Website design & programming: Alec Mapes-Frances

    Craig Kalpakjian
    Last updated 05.04.2024 11:29 UTC

    In Real Life: Koenig & Clinton, 2019

    In Real Life: Fia Backström, Steven Baldi, Barbara Bloom, Liz Deschenes, Craig Kalpakjian, Brandon Lattu

    (Two LIMITEDs pass in quick succession.) Lah Lah’s at the park again. Sakura in Tokyo. Why is Dean brandishing weapons? Sea Ranch. Rosemont has a high school now. Nice pool. (Board). Babyrattlesnake’s rainbow sheep cross body. Another backpack with many pockets advertisement. Watch the time elapsed video twice. “It’s not relevant.” Karaoke slideshow. Guess you had to be there. Max laughing in an oversized bath towel. Old Master’s drawing. Mumia Abu Jamal. Fuzzy image of a panel seated across a stage. Must order that book. Must visit the library. Must read that book at the library. Wheels up. Japanese otter splashes around an inflatable pool. Androgynous teenager. Meme. A memorial image. The recently deceased smiles broadly. Soy’s adding flowers to her salads. Sponsored ad. Baby’s first install. Squid. More 90s nostalgia. Rolling hills at sunset. That video of the plastic straw being extracted from the sea turtle’s bloody nose. Text message screenshot. Abstract painting. Another sponsored ad. Magazine editor attends the FW shows. Enlightened aphorism in handwritten font. Politician plants a garden. Anonymous condos near the Hauptbanhof. Russian raccoons. (Shit. There’s that ugly grocery store parking lot again. Where am I?)
    After dropping off the dry cleaning, I walk back to the building to gather grocery bags. Near the entrance I walk by a young mother who is adjusting a small child’s shoe. As I pass the child calls out for “mama.” The mother explains: “I’m your mama.” Poor kid. It’s Brooklyn and I’m just another brunette in sunglasses and a Breton shirt. Monoprix Luxe uniforms suit 24/7, live/work temporalities. Trash (check). Recycling (check). Compost (check). Groceries (check). Where’s that recipe? So many windows open. Alex is in China. Skip the architecture. Show me the food. Sponsored ad. Jon went out. Temperature. Soundtrack. Foamy waves crash at Rockaway. Sponsored ad. Begum might be my only friend who wears pressed shirts on beach holidays. Another podcasting vegan with a twenty-slide story. I should just get the cookbook. Nice weather for a rooftop party. Lots of balloons. Must be a wedding. Too many balloons. (Wait. That child looks familiar. Who am I following? I just saw them downstairs. I don’t know them but I guess I follow them. Do they live here? Where are they?)
    In 1983, Flusser predicted that “the camera will prove to be the ancestor of all those apparatuses that are in the process of robotizing all aspects of our lives, from our most public acts to one’s most innermost thoughts, feelings, and desires.” In more recent considerations about our present media scape, commercial stock images abound (Crosby, DIS), posting to social media has been recast as a painterly practice (Kneale), and our engagement with algorithmically sequenced images is likened to “entertainment systems that combine game controllers with interactive video or computer display” (Relyea), i.e. less cinematic, more cybernetic.
    While the attention economy and its delivery systems figure heavily into conversations about media effects, ambivalence about the relationship between digital captures and photographic precedents emerges. What is the relationship of a photograph to a site, to a technology, to a source? Which formal strategies/critical approaches have artists deployed to respond to new forms of dislocation? Whether concrete, digital, painterly, sculptural, architectural, scientific, or Neomaterial (Paul), how effectively can physical artwork address the processes of digital capture and immaterial dispersal? Can photo-based practices issue a rejoinder to the logic of the ‘feed’? What are the Contra-net (Blas) potentials of objects, performances, and happenings that demand embodied viewership? Visit IRL. Let’s find out.