Stian Gabrielsen, Den ubestikkelige, KUNSTKRITIKK, OSLO, 22. April 2024 (web only).
Barbara Unterthurner, Pinguine, die auf Rätsel starren, TIROLER TAGESZEITUNG, Innsbruck, 20. February 2024, p. 12.
Michael Kohler, In diesem Albtraum hat man wenigstens was erlebt, KÖLNER STADT-ANZEIGER, Cologne, 2. February 2024, p. ?
Ana Viktoria Dzinic, Image Stacks With ISABELLE GRAW, 032C, Berlin, 1. February 2024 (web only).
Jennifer Braun, Expect the Unexpected: New director Valérie Knoll starts off with a housewarming at Kunstverein Köln, THE GEN Z ART CRITIC, Cologne, 29. October 2023 (web only).
Marina Sammeck, HÖI KÖLN — Kölnischer Kunstverein, RHINEART.COM, Cologne, 28. October 2023 (web only).
Jan Sting, Schnellzug mit Landschaftsmalerei, KÖLNISCHE RUNSCHAU, Cologne, 30. September 2023, p. 14.
Michael Kohler, Malerei als Spiel mit gezinkten Karten, KÖLNER STADT-ANZEIGER, Cologne, 29. September 2023, p. ?
Jennifer Wilson, Where the Artists Are Present - and in Charge, THE NEW YORK TIMES STYLE MAGAZINE, New York, 26. September 2023, p. ?
Sophie Collongette, Free Beers, Indoor Smoking, and Chicken Fingers: How O’Flaherty’s Transformed Itself Into a Prohibition-Style Cafe, CULTURED, LA/New York, 11. August 2023 (web only).
Oli Coleman, Artist Jamian Juliano-Villani opens ultra hip, almost certainly illegal restaurant: ‘It won’t last long’, PAGE SIX, New York, 10. August 2023 (web only).
Hans-Christian Dany, Merlin Carpenter "MIDCAREER PAINTINGS" Kunsthalle Bern, 2015, SPIKED (Vienna/Berlin), No. 76, Summer 2023, p. 28.
Brigitte Werneburg, Der Weg ist versperrt, TAGESZEITUNG (Berlin), 14. May 2023, p. ?
Jens Müller, Gallery Weekend - Kunst zwischen Luxusresorts und digitalen Bubbles, TAGESSPIEGEL (Berlin), 30. April 2023, p. B 24.
Domenick Ammirati, It Is What It Is, SPIGOT (Substack), 8. February 2023 (web only).
Valentina Liernur, Plays on Participation - Merlin Carpenter at JUBG, Cologne, TEXTE ZUR KUNST, 7. September 2022 (web only).
Kabir Jhala, Sylvie Fleury picks her five favourite works at Art Basel, THE ART NEWSPAPER, 18. June 2022 (web only).
Annie Ochmanek, archive élastique, MAY (Paris), No. 21, June 2022, p. 97.
Arthur Fink, Kühle Semantik - Merlin Carpenter bei Longtang, Zürich, TEXTE ZUR KUNST, No. 124, December 2021, p. 142.
Pia Capelli, "Stop Painting" - Fondazione Prada, ARTFORUM, September 2021, p. 282.
Elsa Vettier, Merlin Carpenter – "What's so elastic about you?", 02 (France), Autumn 2021, p. 34.
Benison Kilby, Merlin Carpenter: A Refusal of Work, DISCIPLINE (Melbourne), October 2021 (pdf) (web only).
Lillian Davies, Merlin Carpenter - centre d'art contemporain la synagogue de Delme, ARTFORUM (Critics' Picks), August 2021 (web only).
Vincent Le, The Call of the Outside, MEMO REVIEW (Melbourne), 10. July 2021 (web only).
Anon., Merlin Carpenter à la Synagogue: l'expo qui fait un carton, LE RÉPUBLICAIN LORRAIN, 29. October 2020, p. 7.
Hiji Nam, Merlin Carpenter - Reena Spaulings Fine Art, ARTFORUM, May 2020, p. 168.
Matthew Flaherty, Merlin Carpenter, Paint-It-Yourself, Reena Spaulings, New York, March 2020 , Y2K BLOG, 30. March 2020 (web only).
Rachal Bradley, Hiding in Plain Sight, TEXTE ZUR KUNST, 27. March 2020 (web only).
Anon., Merlin Carpenter at Reena Spaulings, CONTEMPORARY ART WRITING DAILY, 1. March 2020 (web only).
"Barbara A. MacAdam", Merlin Carpenter: Paint-it-Yourself, THE BROOKLYN RAIL, 27. February 2020 (web only).
Martha Schwendener, Merlin Carpenter, THE NEW YORK TIMES, 21. February 2020, p. C15.
Jacob Hicks, Review: Merlin Carpenter, Paint-It-Yourself, QUANTUMARTREVIEW (New York), 1. February 2020 (web only).
Nate Freeman, Editors Picks: 11 Things Not to Miss in New York’s Art World This Week, ARTNET NEWS, 27. January 2020 (web only).
D. Creahan, Merlin Carpenter at Simon Lee Through January 18th, 2020, ART OBSERVED (New York), 6. January 2020 (web only).
Robert Dex, Artist puts Cara and Kate in the picture, EVENING STANDARD (London), 2. December 2019, p. 27.
Andrew Russeth, Open Secrets: The Hidden Passages of Klara Lidén and Bruce Nauman, ART NEWS, 29. November 2018 (web only).
Pablo Larios, CURATED BY_VIENNALINE, FRIEZE, No. 199, November/December 2018, p. 175.
Nathan Stobaugh, Don't Wake Daddy: Martin Kippenberger and the Schreber Case, OCTOBER, No. 166, Fall 2018, p. 81.
Christa Benzer, "Curated by": Zwischen Udo Proksch und Christoph Schlingensief, DER STANDARD (Vienna), 28. September 2018 (date online).
Peter Suchin, London Round-up: The Room · One Paved Court · Simon Lee, ART MONTHLY, December 2017/January 2018, p. 34.
George Vasey, Merlin Carpenter: Do Not Open Until 2081, ARTWORKS LONDON, 24. November 2017 (web only).
Melanie Gerlis, Paintings to the people, FINANCIAL TIMES, 11./12. November 2017, Weekend section, p. 17.
Anon., Merlin Carpenter Can't Let You See His New Paintings (They Might Be Against the Law), ARTNET NEWS, 2. November 2017 (web only).
Anon., 'Do Not Open Until 2081' by Merlin Carpenter at Simon Lee Gallery, MODERN PAINTERS, November 2017, p. 150.
Sarah Morris, The Man in the Mirror, TEXTE ZUR KUNST, No. 107, September 2017, p. 191.
Kito Nedo, Das Leben vor und hinter den Spiegeln: Carpenters Narzissten, TAGESZEITUNG (Berlin), 13. July 2017, plan section p. 15.
Gabriela Acha, Merlin Carpenter - Business Women, FRIEZE.COM, 26. June 2017 (web only).
Liam Considine, Triumph of the Banal: Merlin Carpenter's DECADES and the Legacy of the Handmade Readymade, X-TRA CONTEMPORARY ART QUARTERLY, Volume 19 No. 3, Spring 2017, p. 55.
Rita Vitorelli & Cathérine Hug, Picabia After Picabia, in Francis Picabia - Our Heads Are Round So Our Thoughts Can Change Direction (exhibition catalogue), The Museum of Modern Art New York and Kunsthaus Zürich, 2016, p. 308.
David Everitt Howe, Institutional Collusion: Merlin Carpenter and Cologne's "Non-Productive Attitude", BOMB, No. 136, Summer 2016, p. 25.
Sabrina Tarasoff, Sylvia, CMAGAZINE (Toronto), No. 130, Summer 2016, p. 22.
Kathrin Jentjens, "LOVE IS HATE.", METROPOLIS M, No. 3 2016, p. 94.
Sabrina Tarasoff, In the Avant-Foyer: On Decadence and De-Facement, MOUSSE, February/March 2016, p. 40.
Saim Dermican, Painting 2.0: Expression in the Information Age, ART MONTHLY, February 2016, p. 22.
Jay Chung & Q Takeki Maeda, Best of 2015, ARTFORUM, December 2015, p. 209.
Aoife Rosenmeyer, Merlin Carpenter - Midcareer Paintings, ART REVIEW, December 2015, p. 119.
We find wildness, Merlin Carpenter - Midcareer Paintings, 21. October 2015 (web only).
Dietrich Roeschmann, Nach dem Jugendbonus, ARTLINE (Freiburg), 2. October 2015 (web only).
Helen Lagger, Kunsthalle hat die Krise, BZ BERNER ZEITUNG, 21. September 2015, p. 4.
Martin Bieri, Das Nur-so-tun-als-ob un seine Grenzen, DER BUND (Bern), 21. September 2015, p. 27.
Fredi Lerch, Kritik als Schein statt Pinslerfleiss, JOURNAL B (Bern), 18. September 2015 (web only).
Lena Tichy, Das grosse Augenzwinkern, BERNER KULTURAGENDA, No. 38, 17. September 2015, p. 3.
Louisa Buck, The Buck Stopped Here, THE ART NEWSPAPER, 17. September 2015, (web only).
Anon., Sehr böse, ANNABELLE (Swiss fashion magazine), 9. September 2015, p. 56.
Tanja Widmann, The Desaturation of Graffiti, MAY, No. 14, August 2015, p. 125.
Kari Rittenbach, Eternal Return, MAY, No. 14, August 2015, p. 155.
Stefanie Wurster, Mein Kinderwage, mein Kühlschrank, mein Superbike, BERLINER TAGESZEITUNG, 21. June 2015, p. 15.
Megan Pobywajlo, Merlin Carpenter at MD 72, Archive Collective, Kansas City, 31. May 2015 (web only).
Contemporary Art Writing Daily, Merlin Carpenter at MD 72, 28. May 2015 (web only).
Suzanne Hudson, Painting Now, Thames & Hudson, London, 2015, p. 187.
Olivian Cha, Merlin Carpenter - Overduin & Co., FLASH ART, October 2014, p. 100.
Anon., Money Shots, GARAGE MAGAZINE, No. 7, Fall /Winter 2014, p. 227.
Judith Benhamou, La petite foire montante de l'art contemporain à Marseille: small is beautiful, LES ECHOS (blog), France, 1. September 2014 (web only).
Anon., Merlin Carpenter at Overduin & Co., CONTEMPORARY ART WRITING DAILY, 12. July 2014 (web only).
Cecilie Høgsbro Østergaardm, Realitetsprincip på trip, KUNSTKRITIKK, Copenhagen, June 2014 (web only).
Kathrin Jentjens, a pose is a pose is a..., CORNELIUS QUABECK - FINAL TIMES (catalogue), Samuelis Baumgarte Galerie, Bielefeld, Germany, 2014, p. 6.
Oleg Frolov, Merlin Carpenter Goes East, TEXTE ZUR KUNST, No. 92, December 2013, p. 223.
Hanno Soans, Burberry Patterns on a Totalitarian Art Tour, KUNST.EE, Autumn 2013, p. 54.
Oleg Frolov, Significant cultural (anti-) event: Merlin Carpenter in Moscow, ART UZEL, Moscow, September 2013.
Reet Varblane, Kolm tagasivaadet kunstisuvele, SIRP, Estonia, 6. September 2013, p. 9.
Anon., Majoros piestās Burberry propagandas furgons, JŪRMALAS PAŠVALDĪBAS INFORMĀCIJAS BIĻETENS, Latvia, 11. July 2013, p. 9.
Anne Vetik, Kas osta Birkini kott või Banksy? EESTI PÄEVALEHT, Tallinn, Estonia, 27. June 2013, p. 14.
Riin Kübarsepp, Tööstusliku tootmise jõud, POSTIMEES, Tallinn, Estonia, 26. June 2013, p. 17.
Daniel Marcus, Proposal for a Museum, OPEN SPACE (San Franciso Museum of Modern Art blog), 6. December 2012 (web only).
Andrea Legiehn, Austellen, Wo Andere Urlaub Machen, TEXTE ZUR KUNST GESEHEN UND BEWERTET, 25. September 2012 (web only).
Andrew Russeth, Who Is Henry Codax? And Other Tales of Secret Art, THE NEW YORK OBSERVER, 5. June 2012.
Nana Asfour, A COURAGEOUS LITTLE GALLERY TAKES ON MOMA, THE NEW YORKER, 5. June, 2012 (web only).
Maika Pollack, Interiors: 'Edouard Vuillard: A Painter and His Muses, 1890-1940' at the Jewish Museum and 'Merlin Carpenter: Tate Café' at Reena Spaulings Fine Art, THE NEW YORK OBSERVER, 5. June 2012.
Roberta Smith, Merlin Carpenter - Tate Café, THE NEW YORK TIMES, 17. May 2012.
Benjamin Sutton, Artist Merlin Carpenter Made a Painstaking Copy of the Tate Cafe on the Lower East Side, BLOUIN ARTINFO, 15. May 2012 (web only).
Roberta Smith, Promising Tyros Join an Art Fair Club, THE NEW YORK TIMES, 8. March 2012.
Andrew Hunt, Merlin Carpenter - Simon Lee Gallery, FRIEZE, March 2012, p. 169.
Laura McLean-Ferris, West London, ART REVIEW, January/February 2012, p. 103.
Kim Toffoletti, Baudrillard Reframed, I.B. Tauris, London /New York, 2011, p. 51-55.
Caroline Busta, Body Doubles, in Art and Subjecthood, Sternberg Press, Berlin, 2011, p. 38.
Laura Owens, The Artists' Artists, ARTFORUM, December 2011, p. 102.
Manfred Hermes, Mitteilungen an die Presse und für die Öffenlichkeit, TEXTE ZUR KUNST, No. 82, June 2011, p. 260.
Mark Prince, Merlin Carpenter - MD 72, FLASH ART, May/June 2011, p. 160.
Catherine Taft, Merlin Carpenter - Overduin and Kite, ARTFORUM, May 2011, p. 296.
Angela Hohmann, Der böse Bube, DER TAGESSPIEGEL (Berlin), 19. March 2011, p. 26.
Andrea Backhaus, 5000 Euro und dann mal sehen, DIE WELT (Berlin), 12. March 2011, p. 23.
Sharon Mizota, Yes, he invited the copycat, LOS ANGELES TIMES, 25. February 2011, p. D18.
Catherine Wagley, Pure Exploitation, DAILY SERVING, 25. February 2011 (web only).
Carpenter zieht die Heldenkarte, BZ AM SONNTAG (Berlin), 6. February 2011, p. 15.
Adam Kleinman, All That Glitters, ART AGENDA, 7. December 2010 (web only).
Barbara Buchmaier and Magnus Schäfer, Köln, von Berlin aus gesehen (via Philadelphia), in Metropolitan Views: Berlin, Berlin. Kunstszenen 1989-2009, Deutscher Kunstverlag, Berlin, 2010, p. 154.
Justin Lieberman / Chris Sharp, Waxing Durr, ART LIES, Issue 66, Summer 2010, p. 20.
Achim Hochdörfer / Isabelle Graw, Die Malerei Gibt es Nicht, TEXTE ZUR KUNST, No. 77, March 2010, p. 46.
Isabelle Graw, High Price (book), Sternberg Press, Berlin/New York, 2010, p. 214, p. 221.
Catherine Chevalier, Event / not event - Merlin Carpenter at Gallery Dépendance, MAY, No. 2, October 2009, p. 47.
Luk Lambrecht, The opening, KNACK (Belgium), 14. July 2009, p. 55.
Mike Sperlinger, Holy Terror, TEXTE ZUR KUNST, No. 74, June 2009, p.153 & p. 119.
Martin Coomer, Merlin Carpenter - The Opening, ART REVIEW, Summer 2009, p. 124.
Matthew Collings, An Artist of Our Time, MODERN PAINTERS, Summer 2009, p. 18.
Louisa Buck, Biting the hand that feeds you, THE ART NEWSPAPER, May 2009, p. 47.
Emiko Terazono, Kunst ist Kapital, FINANCIAL TIMES, 9. April 2009, p. 18.
Scott Reyburn, Banks Attacked at Art Show as London Galleries Fight to Survive, BLOOMBERG.COM, 7. April, 2009.
Jessica Lack, Merlin Carpenter - London, THE GUARDIAN (Guide), 28. March 2009, p. 39.
Melanie Gilligan, Public Image LLC: The Three-Year Plan, GREY ROOM, 35, Spring 2009, p. 102.
Sean Ashton, Canvases and Careers Today: Criticism and Its Markets, MAP (Dundee), issue 17, Spring 2009, p. 93.
Isabelle Graw, Der große Preis (book), Dumont, Germany, 2008, p. 220, p. 226.
Maria Fusco, Canvases and Careers Today: Criticism and Its Markets, FRIEZE, issue 119, November 2008.
Roberta Smith, At Frieze fair, creativity and caution, INTERNATIONAL HERALD TRIBUNE, 21. October 2008, p. 20.
Ann Goldstein, The Problem Perspective, (in Martin Kippenberger book of same name), MOCA Los Angeles, MIT, Cambridge, 2008, p. 93, p. 103.
Sean Ashton, Atrocity Exhibition, MAP (Dundee), issue 15, Autumn 2008, p. 54.
Christopher Knight, After the party, the depletion, LOS ANGELES TIMES, 22. February 2008.
Martin Seidel, Élégance, KUNSTFORUM, No. 189, January/February 2008, p. 340.
Caroline Busta, Merlin Carpenter - Reena Spaulings Fine Art, ARTFORUM, December 2007, p. 355.
John Kelsey, (Top Ten), ARTFORUM, December 2007, p. 322.
Frank Frangenberg, Eleganz im bröckelnden Haus, KÖLNER STADT-ANZEIGER, 6. November 2007, p. 22.
Amoreen Armetta, Merlin Carpenter, "The Opening", TIME OUT NEW YORK, 18. October 2007, p. 99.
Martha Schwendener, Merlin Carpenter - The Opening, THE NEW YORK TIMES, 5. October 2007, p. E41.
André Rottmann, Relax It's Only Merlin, TEXTE ZUR KUNST, No. 66, June 2007, "Besprechungen" p. 67.
Hans-Jürgen Hafner, Merlin Carpenter "Relax It's Only a Bad Cosima von Bonin Show", SPIKE, No. 11, Spring 2007, p. 95.
Matthias Dusini, Schrei nach Farbe, FALTER (Vienna), No. 9 / 2007, p.60.
Anon., Showcase - Arts & Culture, CREATIVE REVIEW, Vol 27, No. 3, March 2007, p. 36.
Manisha Jothady, Entspannen Sie sich, es ist nur eine schlechte Show, DIE PRESSE (Vienna), 15. February 2007.
Gean Moreno, Merlin Carpenter - Geneva, ART PAPERS, November/December 2006, p. 55.
Sam Lewitt, Club You Can't Get Into, TEXTE ZUR KUNST, No. 63, September 2006, p. 242.
Isabelle Graw, Von Hier Aus, TEXTE ZUR KUNST, No. 63, September 2006, p. 64.
Christian Rattemeyer, "Make Your Own Life: Artists In & Out of Cologne", ARTFORUM, Summer 2006, p. 344.
Roberta Smith, Cologne as Mythic Hot Spot (Cue the Background Music), THE NEW YORK TIMES, 2. June 2006.
Adrian Shaughnessy (preface), non-format (book), Pyramyd, Paris, 2006, p.116.
Katie Stone Sonnenborn, Merlin Carpenter - Reena Spaulings Fine Art, FRIEZE, Issue 97, March 2006, p. 164.
Kirsty Bell, in Art Now Vol 2, ed. Uta Grosenick, Taschen, Köln, 2005, p. 92.
Isabelle Graw, Merlin Carpenter - Galerie Christian Nagel, ARTFORUM, November 2005, p. 265.
Michael Krebber, Außerirdische Zwitterwesen (book), Verlag der Buchhandlung Walter König, Köln, 2005, p. 80 & 122.
Josephine Pryde, Da Bin Ich Machtlos, TEXTE ZUR KUNST, No. 58, June 2005, p. 175.
Mare Næss Olsen, Snøscootere møter 70-tallskunst, BERGENS TILDENDE, 11. March 2005, p. 38.
Benedickte Eriksen, Snøscootere blir kunst, BA (Bergen, Norway), 11. March 2005, p.44.
Victor Zarza, Merlin Carpenter, ABC BLANCO Y NEGRO CULTURAL (Spain), No. 662, 2004, p. 32.
Thomas Groetz (ed.), Berlin 1994-2003, Galerie Max Hetzler, Berlin, 2003, pp. 29 & 40.
Gareth James, Please Kill Me, TEXTE ZUR KUNST, No. 51, September 2003, p. 155.
John Kelsey, Merlin Carpenter - American Fine Arts, Co., ARTFORUM, October 2003, p. 171.
Alex Mar, Gallery - Going, THE NEW YORK SUN, 7. August 2003, p.16.
Ken Johnson, Merlin Carpenter - Children of the Projects, THE NEW YORK TIMES, 13. June 2003, p. E37.
Anon., Focus
Painting Part II, FLASH ART, No. 227, November 2002, p. 81.
Mark Prince, Painting & Photography, ART MONTHLY, October
2002, p. 2.
David Bussel, in Vitamin P, ed. Valérie Breuvart, Phaidon, London/New York, 2002, p. 58.
Barbara Hess, in Art Now, ed. Uta Grosenick and Burkhard Reimschneider, Taschen, Köln, 2002, p. 84.
Michael Krebber, An der langen Leine, TEXTE ZUR KUNST, No. 46, 2002, p. 116 .
Merlin Carpenters Kunstzitate, KÖLNER STADTANZEIGER, 19. Feb. 2002, p. 26.
Matthew Collings, Art Crazy Nation, 21 Publishing, London, 2001, p. 212.
Mark Harris, Merlin Carpenter - Magnani, ART IN AMERICA, July 2001, p. 111.
Michael Wilson, Merlin Carpenter/Sigmar Polke, ART MONTHLY, February 2001, p. 34.
Michael Archer, Merlin Carpenter Magnani, ARTFORUM, February 2001, p. 163.
Stefan Heidenreich, In der Luxuszone, FRANKFURTER ALLGEMEINE ZEITUNG (Berliner Seiten), 17. October 2000.
Peter Herbstreuth, Angriff an der Oberfläche, DER TAGESSPIEGEL (Berlin), 7. October 2000.
Mercedes Bunz, Wo ist Kunst?, DE-BUG (Berlin), October 2000, p. 32.
Anselm Wagner, Das Picabia-Verfahren, FRAME, July/August 2000, p. 62.
Josephine Pryde, Merlin Carpenter at Secession, MODERN PAINTERS, Summer 2000, p. 52.
Martin Prinzhorn, Dislozierte Ikonen, TEXTE ZUR KUNST, No. 38, June 2000, p. 142. Reprinted in Martin Prinzhorn, Schriften zu Kunst und Architektur Volume 1, published by Schlebrügge.Editor, Vienna, 2017, p. 116.
Matthias Dusini, Malen Nach Zahlen, FALTER (Vienna), No. 17, 2000, p. 61.
Markus Mittringer, Bilder auf die feine englische Art, DER STANDARD (Vienna), 30. March 2000, p. 17.
Susanne Leeb, Notorische Zweifel, TEXTE ZUR KUNST, No.35, September 1999, p. 316.
Die Kritik am Betrieb, Kölner Stadt-Anzeiger, 8/9. May 1999, p. 39.
Jutta Koether, Chant No 1, TEXTE ZUR KUNST No. 30, June 1998, p. 168.
Anke Kempkes, Prinzipiell Sekundär, SPEX, March 1998, p. 54.
Peter Herbstreuth, DER TAGESSPIEGEL (Berlin), 7. February 1998, p. 29.
Brigitte Werneburg, TAGESZEITUNG (Berlin), 24. January 1998.
Isabelle Graw, Vermintes Gelände, TEXTE ZUR KUNST, No. 23, August 1996.
Gérard A. Goodrow, Ironically Playful, ARTNEWS, September 1994, p. 111.
Roberta Smith, For the New Galleries of the 90s, Small (and Cheap) is Beautiful, NEW YORK TIMES, 22. April 1994.
Joshua Decter, Merlin Carpenter - Petzel/Borgmann, ARTFORUM, Summer 1994.
Gregor Schwering/Christophe Marx, Merlin Carpenter - Max Hetzler, ZYMA, March/April 1993.
Tom Holert, Merlin Carpenter - Max Hetzler, FLASH ART, March 1993.
Peter Herbstreuth, DER TAGESSPIEGEL (Berlin), 17. February 1993.
Werner Köhler, Merlin Carpenter - Bruno Brunnett Fine Arts, ARTIS, June 1993.
Ulrich Clewing, Frech Kommt Weiter, ZITTY (Berlin), March 1993.
A letter to Elsa Oliarj-Ines in the Circuits newspaper publication, Palette Terre, Paris, October 2023 (in English and French).
Steam Engine, www.merlincarpenter.com, September 2022.
Malerei als Coverstory, a conversation with Isabelle Graw, in her Die Liebe zur Malerei, Diaphanes, Zürich, 2017, p. 182.
Line of Control, Control Magazine, London, issue 20, 2017, p. 2.
"The Outside Can't Go Outside", merlincarpenter.com, July 2015. (Republished as book, Institut für Kunstkritik Series, Sternberg Press, Berlin, 2018).
Contribution to Media Study, ARTFORUM, September 2012, p. 238.
Introduction to Complete Poetry by Nicolás Guagnini, 100% Publications, New York, 2011.
Fashion is Fun - an Interview with Stefano Pilati, TEXTE ZUR KUNST, No. 78, June 2010, p. 52 & 116. Republished in 299 792 458 M/S, The Overworked Body Issue, New York, 2018, p. 242.
The Tail That Wags The Dog, first publication on this website. Also available in Canvases and Careers Today: Criticism and Its Markets, pub. Sternberg Press, Berlin, 2008, p. 75. Reprinted in Ethics, pub. Whitechapel Gallery, London/The MIT Press, Cambridge Massachusetts, 2015, p. 74.
David Hockney, 1971, TEXTE ZUR KUNST, No. 67, September 2007, p. 183 & p. 270.
The General Theory of Previous Generation Terrorists, in Neuva Generacíon catalogue, pub. Distrito 4, Madrid, 2004.
Back Seat Driver, in PACEMAKER, Paris, June 2004.
Back Seat Driver, in Gitarren, die nicht Gudrun heißen, Herausgegeben von Thomas Groetz, Galerie Max Hetzler/Holzwarth Publications, Berlin, 2002.
Media Guy, TEXTE ZUR KUNST, No. 45, March 2002, p.155.
The Sound of Bamboo, catalogue essay for Apothekerman by Michael Krebber, pub. Kunstverein Braunschweig, Stätische Galerie Wolfsburg, Walther König, 2000.
The Protest Had Already Impacted on London in the Form of its Absence, with Anthony Davies, in catalogue for the exhibition As a Painter I Call Myself the Estate of, Secession, Vienna, 2000. There was also a statement by the two authors in the same publication.
Concentration, A.N.Y.P. No. 9 1999, p. 7.
Der Nichtzerbrochene Nichtspiegel, TEXTE ZUR KUNST, No. 31 September 1998, p. 66. Reprinted in Erste Wahl - 20 Jahre "Texte zur Kunst" 1. Dekade, pub. Philo Fine Arts, Hamburg, 2011, p. 298.
The Charlatans, SPEX, September 1997, p. 12.
Ein Haufen Sprache (Robert Smithson), SPEX, February 1997, p. 53.
Séan Kimber and Simon Periton chat to Merlin Carpenter and Nils Norman about St. Martins and the changes that have recently occurred there. Tuesday 13th December 1994. (with Nils Norman, Séan Kimber, and Simon Periton), in AKADEMIE, pub. permanent press Verlag, Köln, 1995, p. 240.
Robert Smithson, TEXTE ZUR KUNST, No. 5 1992, p. 205.
I Was an Assistant, TEXTE ZUR KUNST, No. 1 Autumn 1990, p.119.
The Abstract Reality of "Bad" Cocktails, catalogue essay for Realidad Abstracta by Albert and Markus Oehlen, pub. Nave Sotoliva, Santander, Spain, 1990, p. 5.
MARTIN KIPPENBERGER? IS HE MASTER OF PUPPETS?, catalogue essay for Eine Handvoll Vergessener Tauben by Martin Kippenberger, pub. Galerie Grässlin-Ehrhardt, Frankfurt, 1990.
Various reviews, ARTSCRIBE, 1988-90.
Stress Busters, Kunstraum Schwaz, Austria, 2024.
Circuits, Palette Terre, Paris, 2023.
Do Not Open Until 2081, Simon Lee Gallery, London, 2018.
"The Outside Can't Go Outside", Institut für Kunstkritik Series, published by Sternberg Press, Berlin, 2018.
MIDCAREER PAINTINGS, edited by Kunsthalle Bern, published by Sternberg Press, 2017.
POLICE, dépendance, Brussels, 2014.
Solo Show, Formalist Sidewalk Poetry Club, Miami, 2011.
The Opening, published by Sternberg Press, Berlin, 2011.
„Heroes“ (playing cards), MD 72, Berlin, 2011.
Social Aesthetics, The Institute of Social Hypocrisy, Paris, 2010.
Relax It's Only a Bad Cosima von Bonin Show, Galerie Bleich-Rossi, Vienna, 2007.
Nueva Generación, Distrito 4, Madrid, 2004.
Militant, Christian Nagel Gallery, Cologne, 2002.
Jewels-in-Art, (with Jeremy Glogan, Josephine Pryde and Sarah Staton), Galerie Bleich-Rossi, Graz, 2001.
As a Painter I Call Myself the Estate of, Secession, Vienna, 2000.
Voluntary Effort, for an exhibition at Tom Solomon's Garage, Los Angeles, 1995.
Meet You by the Strange Twisted Old Oak Tree on the Secluded Knoll at Dawn in Your Swimming Trunks and I'll Tell You Something Secret, Published by MC and Nils Norman for exhibition at Galerie Z, Göttingen, 1993.
Zeitschrift für, Berlin, No. 36, February 2023.
Poster for PROVENCE, Zurich/Berlin, AW 2021/2022: The Poster Issue.
Cover design for cassette tape bEaUtIeS oF tHe NigHt - Youtube Classics Vol. 1, released by Rat Rights, Vienna, 2019.
The Far Right in the Art World As of April 2019 (poster), ARTS OF THE WORKING CLASS, No. 6, Berlin, 2019, p. 24.
General Equivalent #1, London, 2018, p. 35.
Yes & No Magazine, issue 3, London, 2017, p. 26.
DEATH LOLZ, Dan Mitchell/Ludlow 38, New York, 2017, p. 7.
Yes & No Magazine, issue 1, London, 2017, p. 38.
The Tube, issue 1, Bus Editions, London, 2015 (poster).
The Happy Fainting of Painting, Ed. Hans-Jürgen Hafner & Gunter Reski, pub: Walther König, Cologne, 2014, p. 28.
Da Thirst, issue 3, London, 2014.
Provence, issue E - Madame, Nice, France, Autumn/Winter 2012, p. 130.
The Sound Of Downloading Makes Me Want To Upload, pub: Frenetic Happiness, 2010, pp. various.
(PROJECT BY NANG GALLERY): Pigiarniq, No. 17, May 2009, p. 61.
Provence, issue P, pub. materialverlag_HfbK, Nice, France, 2009, p. 17.
Mute 2 - The Face: Stripped, pub. Tanin Inc., Tokyo, 2008, p. 106.
Twelve promotional videos made at De Streepschilderijen – L.A. HUB about Overduin & Co. Amsterdam, 2018.* .mov files online / instagram.
Formalist Sidewalk Poetry Club, 2015.* mp4 / youtube. By Blake Rayne and MC. Part of a show at Formalist Sidewalk Poetry Club, Miami, March 2015.
Carpenters Road, 2009.* Mini DV. Screened at The Institute of Social Hypocrisy, Paris, 2010.
Cancer, 2004.* Quicktime movie. Screened at the generic video nite at Flaxman Lodge, London, September 2004.
The Making of 1945, 1997. Screened at the McAllister Institute, New York, March 2002.
Love is a Contact Sport, 1998. Part of the Doppelganger show at The Top Room, London.
Why Henry Bond Left the Art Fair So Quickly, 1994. For Omron screening, London, 1995.
Untitled, 1992. Blow-Up remake for Meadow/Wiese.
Untitled, 1991. Documentation on To the extreme for Luhring Augustine group show (not shown).
(All VHS PAL Format, except *)
Merlin and Isabelle, BANKSIDE, 1995/2014. 12" single.
Kutkh, 2022. CD.
DJ Carpenter, Kickers, 2022. Joyfully Waiting website, Geneva.
Texte zur Kunst, for MAY magazine, Paris, 2017. Signed copy of Texte zur Kunst, edition of 80 + 20.
Exhibition Guide, for Kölnisher Kunstverein, Germany, 2011. Signed Tracey Emin exhibition guide, edition of 5 + 1.