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

    Craig Kalpakjian
    Kai Matsumiya, 2020

    Sternberg Press, 2017

    Intelligence considers the ideas of artificial intelligence exhibited by machines, as seen in the Sony AIBO robotic dog, and human intelligence, like that which is gathered through interpersonal contact by the US military in accordance with the “US Army Field Guides Manual on Interrogation,” a guide that prohibits abusive techniques of torture. This publication is based on Kalpakjian’s Black Box (2002), an artwork shown as part of his solo show at the Andrea Rosen Gallery that comprises an isolated AIBO robotic dog inside a constructed minimalist box. Over the course of the exhibition, the robot dog took photographic images of its environment, which were hung on the wall beside the box. Intelligence includes images produced during the exhibition, as well as a section that juxtaposes excerpts from the AIBO user’s guide with those from the US military’s interrogation manual. Also included is “The Tail Wags the Dog,” an interview with Bob Nickas discussing the background and implications of both Black Box and Intelligence, an essay on Black Box titled “Shit Photographs” by curator Paul Wombell, and Gilles Deleuze’s “Postscript on the Societies of Control,” which examines issues revolving around the technology of social control and confinement.

    Blind Spot 42
    Liz Deschenes (Ed.)
    Blind Spot, 2010

    Guest Editor Liz Deschenes,
    with work by:
    Barbara Bloom,
    Nancy Davenport,
    Ana Gil-Costa & Sonia Gil-Costa,
    Sam Lewitt,
    Helen Robertson,
    Craig Kalpakjian,
    Peter Hutton,
    Miranda Lichtenstein & Cameron Martin
    Nora Schultz

    View PDF

    Craig Kalpakjian
    Cabinet, Issue 18, 2008

    Artists projects
    Proposal for Moonworks, with illustrations.

    View PDF

    Francesca Richer (ed), Matthew Rosenzweig (ed)
    D.A.P., 2005

    No. 1: First Works by 362 Artists.
    Showcases works by a variety of contemporary painters, photographers, sculptors and filmmakers. The artists were asked to submit what they considered their “first” work of art—not necessarily the first piece they ever created, but the one that first successfully represented who they are as an artist today. Some of the works are first “mature” works, others are seminal or pivotal, others are catalysts, some are new beginnings. These submissions, along with written artists’ statements, make up this fascinating look at the process of art-marking. Among the artists included are Vito Acconci, Kutlug Ataman, Fiona Banner, Nayland Blake, Louise Bourgeois, Vija Celmins, Judy Chicago, John Currin, Amy Cutler, Martin Creed, Tacita Dean, Wim Delvoye, Mark Dion, Mitch Epstein, Larry Fink, Tom Friedman, Hans Haacke, Ann Hamilton, Gary Hill, Roni Horn, Callum Innes, Joan Jonas, Craig Kalpakjian, Anish Kapoor, Mary Kelly, Yayoi Kusama, Alfred Leslie, Glenn Ligon, Barry McGee, Tracey Moffatt, Shirin Neshat, Gabriel Orozco, Roxy Paine, Richard Prince, Dorothea Rockburne, Tom Sachs, Kiki Smith, Pat Steir, Juergen Teller, Fred Tomaselli, Rosemarie Trockel, Tunga, Luc Tuymans, Gus Van Sant, John Waters, John Wesley, Sue Williams, Fred Wilson, Lisa Yuskavage and Andrea Zittel. No.1 is an invaluable resource for anyone interested in art and the process of discovery and creation.

    Subjective Realities
    The Refco Group, 2004

    Among the many lessons we have learned from photography since its inception are a few about the nature of reality and its representation. Long considered a mirror image of the real world, a direct and objective record of what exists in the visual stratosphere, the photograph has come to be understood as something much more complicated and variable, something easily manipulated and modified. Subjective Realities is thus a most apt title for this publication, which presents a stellar selection of contemporary photography from the Refco Collection. Included are works by Vito Acconci, Janine Antoni, Matthew Barney, Chris Burden, Jean-Marc Bustamante, Sophie Calle, Gregory Crewdson, Rineke Dijkstra, Olafur Eliasson, Barbara Ess, Walker Evans, Adam Fuss, Ann Hamilton, Eva Hesse, Axel Hutte, Craig Kalpakjian, Seydou Keita, Inigo Manglano-Ovalle, Ana Mendieta, Gordon Matta-Clark, Mariko Mori, Catherine Opie, Richard Prince, and many, many more artists. An essay by Dave Hickey introduces the book, and short texts on individual artists have been contributed by Lynne Cooke, Kathryn Hixson, A.M. Homes, Glenn O’Brien, Saul Ostrow, Luc Sante, Katy Siegel, and others.

    J.G. Ballard
    Picador, 2002

    Hall, 1999 used as cover art for J.G. Ballard’s 2000 novel.

    Visions from America
    Whitney Museum of American Art
    Prestel, 2002

    Photographs from the Whitney Museum of American Art, 1940-2001. Sylvia Wolf (Author), Andy Grundberg (Author).
    Representing the work of more than forty artists, this volume of over 160 photographs highlights the Whitney’s collection and provides photographic visions made by artists living and working in the United States from 1940 to 2000. Accompanies the 2002 exhibition at the Whitney.

    Visionaire 24: Light
    Tom Ford for Gucci (Ed.)
    Visionaire, 1998