ANDREA ROBBINS AND MAX BECHER<\/p>\n
BIOGRAPHY\/BIBLIOGRAPHY<\/p>\n
Andrea Robbins
\nBorn: 1963, Boston, MA
\nEducation:
\n1989 Hunter College School of Art, New York, NY
\n1986 Cooper Union School of Art, New York, NY \/ BFA<\/p>\n
Max Becher
\nBorn: 1964, Duesseldorf, Germany
\nEducation:
\n1989 Mason Gross School of the Arts, Rutgers University, New Brunswick, NJ, MFA
\n1986 Cooper Union School of Art, New York, NY, BFA<\/p>\n
EXHIBITIONS<\/p>\n
2025
\nSeriously, November 21, 2025 \u2013 January 31, Spr\u00fcth Magers, London, England
\nOcula, La Monnaie de Paris, 21-26 October, Paris, France
\nThe Sonnabend Collection Mantua, Opens November 29, Palazzo della Ragione, Mantova, Italy<\/p>\n
2024
\nOn view at Harvard Business School: Schwartz Art Collection. (Displayed throughout the campus)<\/p>\n
2023
\n\u201cFotonotizen: Werke aus der Sammlung Gegenwartskunst. Curated by Lea M\u00e4rz. Museum f\u00fcr Gegenwartskunst, Siegen. March 17 \u2013 Aug. 6.<\/p>\n
2022
\n\u201cPlanetArt Dialogen.\u201c Freie Akademie der K\u00fcnste, Hamburg. Oct. 11 \u201316.
\n\u201cPhotographische Konzepte und Kostbarkeiten \u2013 Sammlungspr\u00e4sentation: Teil 1 \u2013 Portr\u00e4t, Landschaft, Botanik.\u201d Photographische Sammlung\/SK Stiftung Kultur. Cologne. 11. Feb. 11 \u2013 July 10.<\/p>\n
2021
\n\u201cOst\/Western: Kino, Kult und Klassenfeind.\u201d Kunsthalle Rostock. Curated by Nadine Barth and Hermann H\u00fclsenberg. June \u2013 Sept. 5.
\n\u201cEn Espa\u00f1a. Fotograf\u00eda, encargos, territorios, 1983\u20132009.\u201d Photo Espa\u00f1a, Museo Ico, Madrid. June 2 \u2013 Sept 12.<\/p>\n
2020
\n\u201cOur Present.\u201d Museum f\u00fcr Gegenwartskunst, Siegen. Feb. 2 \u2013August 16.
\n\u201cSubjekt und Objekt. Foto Rhein Ruhr.\u201d Kunsthalle D\u00fcsseldorf, March, 21 \u2013 August 16
\n\u201cWall Turned Sideways: Artists Confront the Justice System.\u201d Tisch & Koppelman Galleries, Aidekman\/Medford, Jan. 23 \u2013 April 19.
\n\u201cDie Bechers, die n\u00e4chste Generation und die Idee der Naturgeschichte.\u201d Stadtgalerie Bad Soden, Oct. 2 \u2013 Nov. 1<\/p>\n
2019
\n\u201cKein Planet B! \u2013 10 Jahre NABU International.\u201d K\u00fchlhaus Berlin, September 11 -21.
\n\u201cArtists Need to Create on the Same Scale that Society Has the Capacity to Destroy: Mare Nostrum.\u201d The Brooklyn Rail, Complesso della Chiesa di Santa Maria delle Penitenti, Fondamenta di Cannaregio, 910, Venice Biennale, May 8 \u2013 Nov. 24.
\n[Solo] \u201cNativist Americans.\u201d Spr\u00fcth Magers Berlin, April 26 \u2013 July 27.<\/p>\n
2018
\n\u201cAll That Man Is \u2013 Fashion and Masculinity Now.\u201d Photo Festival Vogue, , Milan, Italy, November 15-18
\n\u201cWalls Turned Sideways: Artists Confront the Justice System.\u201d Contemporary Arts Museum Houston, August 25, 2018 \u2013 January 6, 2019.
\n\u201cWhen and Where I Enter.\u201d The Tang Teaching Museum and Art Gallery, Skidmore College, Saratoga Springs, New York, NY
\n\u201cThe Sonnabend Collection: Half a Century of European and American Art. Part II.\u201dSerralves Museum, Porto, Portugal, May 11 \u2013 September 23,
\n[Solo] \u201cSchwarze Cowboys \u2013 Deutsche Indianer.\u201d Heidelberg Center for American Studies (HCA), opening March 15th.
\n\u201cDie andere H\u00e4lfte. Pr\u00e4sentation Sammlung Gegenwartskunst.\u201d Museum f\u00fcr Gegenwartskunst Siegen, March \u2013 April 25.
\n\u201cAmericans.\u201d National Museum of the American Indian, Washington, DC, January 18, 2018-2022.<\/p>\n
2017
\n\u201cReal Estate.\u201d Berman Museum at Ursinus College, Collegeville, PA, Sept.15 \u2013 March 18.
\n\u201cAcross Divides: Borders & Boundaries in Contemporary Art.\u201d Koslowe Gallery, Mamaroneck, NY, August.
\n\u201cAcross Divides: Borders and Boundaries in Contemporary Art.\u201d Derfner Judaica Museum, Bronx, NY, March 26 \u2013 July 30
\n[Solo] \u201cSchwarze Cowboys \u2013 Deutsche Indianer.\u201d Deutsch-Amerikanisches Institut T\u00fcbingen, April 25 \u2013 June 6
\n\u201cSerialities.\u201d Hauser & Wirth, New York, 22nd Street, 15 February 15 \u2013 April 8
\n[Solo] Black Cowboys.\u201d Galerie Ute Parduhn. February 2 \u2013 March 3.<\/p>\n
2016
\n\u201cDer typologische Blick \u2013 Ausstellung f\u00fcr Hilla Becher,\u201d Photographische Sammlung\/SK Stiftung Kultur, 13. June 13 \u2013 July 3
\n\u201cMartha Rosler: If You Can\u2019t Afford To Live Here, Mo-o-ve!!\u201d Mitchell, Inness and Nash Gallery NYC, June 7-July 9
\n[Solo] \u201cAndrea Robbins \/ Max Becher: Desplazamientos \/ Displacements,\u201d Museo ICO, Madrid, June 1 \u2013 September 11.
\n[Solo] \u201cAndrea Robbins \/ Max Becher: Verlagerungen, \/ Displacements.\u201d Museum f\u00fcr Gegenwartskunst, Siegen, Germany, March 17- April 16
\n\u201cThe East\u2019s West,\u201d D\u00fcsseldorf Photo Weekend, D\u00fcsseldorf, Germany, March 12 \u2013 14
\n\u201cAndrea Robbins e Max Becher.\u201d Billboard Project, Porto, Portugal<\/p>\n
2015
\n\u201cCopied Cities.\u201d Curated by Mart\u00ed Peran, Fabra i Coats Centre d\u2019Art Contemporani de Barcelona. March 6 \u2013 May 17<\/p>\n
2014
\n[Solo] \u201cFollowing the Ten Commandments.\u201d School of Art Gallery, University of Manitoba, Canada, November 13 \u2013 February 20
\n\u201cFacts and Fictions: Contemporary photographs from the UniCredit Art Collection.\u201d Multimedia Art Museum, Moscow, Russia, opens October 10
\n[Solo] \u201cFollowing the Ten Commandments.\u201d Sonnabend Gallery, New York, NY. September 13 \u2013 November 1
\n\u201cA Particular Kind of Solitude: An exhibition inspired by the writings of Robert Walser for the
\nElizabeth Street Garden.\u201d Curated by Serra Sabuncuoglu, New York, NY. May 10 \u2013 June 1
\n\u201cOccupied Territory: A New Museum Trilogy.\u201d The New Museum, New York, January 22 \u2013 April 13<\/p>\n
2013
\n\u201cCome Together: Surviving Sandy, Year 1.\u201d Brooklyn, NY, October 20 \u2013 December 15
\n\u201cfALSEfAKES \u2013 VRAIFAUXSEMBLANTS.\u201dCentre de la Photographie, Geneva, June 5 \u2013 July 28
\n\u201cThe Sonnabend Collection at Ca\u2019 Pesaro.\u201d Venice, 31 May \u2013 29 September
\n\u201c40 Artists\/40 Years: Selections from the Light Work Collection\u201d, Palitz Gallery,
\nSU Lubin House, NYC, NY, Feb. 18 \u2013 Apr. 11, Menschel Media Center, Syracuse, NY, Aug. 19 \u2013 Oct. 25
\n\u201cIn Motion: The African American Migration Experience.\u201d Schomburg Center, New York. Online exhibition:
\ninmotionaame.org, physical exhibition at National Library of Medicine, Bethesda MD, February<\/p>\n
2012
\n\u201cPhoto Ireland Festival 2012.\u201d Dublin, Ireland, July 1-31
\n[Group show] Sonnabend Gallery, New York, February 25 \u2013 March 17
\n\u201cDurchsucht, fixiert, geordnet.\u201d Oktober 7 \u2013 November 25, Museum fuer Gegenwartskunst, Siegen, Germany<\/p>\n
2011
\n\u201cKunsthalle macht Schule.\u201d Kunsthalle Darmstadt, Darmstadt, Germany, September 20 2011 \u2013 August 1, 2012
\n\u201cThe Art of Caring: A Look at Life through Photography.\u201d Museum of Art, Fort Lauderdale, FL.
\nJune 2 \u2013 September 25
\n\u201cLiving History.\u201d Nicolaysan Art Museum, Casper, WY, May 20 \u2013 Spetember 11
\n\u201cIleana Sonnabend: An Italian Portrait.\u201d Peggy Guggenheim Collection, Venice, May 28 \u2013 October 2
\n\u201cUntitled.\u201d Las Cienegas Projects, Los Angeles, CA, May
\n[Solo] \u201cVenice, Las Vegas.\u201d Sonnabend Gallery, New York, NY. February 17 \u2013 March 19.
\n\u201cProject Europa: Imagining the (Im)possible.\u201d Miriam and Ira D. Wallach Art Gallery,
\nColumbia University. New York, NY. January 19\u2013March 26.<\/p>\n
2010
\n[Solo] \u201cBlack Cowboys.\u201d Sonnabend Gallery, New York. September 16th \u2013 October 23.
\n\u201cRefraction: Contemporary Art from the Harn Museum Collection.\u201d (Black Cowboys) Gainesville, FL.
\nAugust 24, 2010 \u2013 August 14, 2011
\n\u201cThe Art of Caring: A Look at Life through Photography.\u201d Cincinnati Museum Center at Union Terminal,
\nAugust 1-31, September 1-19
\n\u201cHuman Conditions.\u201d Sesnon Gallery, October 13 \u2013 November 20
\n\u201cBefore and After.\u201d Balice Hertling Gallery, Paris. September 10 \u2013 October 23
\n\u201cKid Kulture\u201d, Westport Arts Center, Westport, CT, December 10, 2010 \u2013 February 20,<\/p>\n
2011
\n\u201cDreamlands.\u201d Centre Pompidou, Paris. May 5 \u2013 August 9
\n\u201cProject Europa: Imagining the (Im)possible.\u201d (group show) Harn Museum of Art, Gainesville, FL.
\nFebruary 7 \u2013 May 9, 2010
\n\u201cTrying Them On.\u201d Presented by Humble Arts Foundation and Hendershot Gallery, New York,
\nJanuary 21 \u2013 February 27<\/p>\n
2009
\n\u201cLa Part Des Ombre.\u201d Mus\u00e9e Henri Martin, Toulouse, September 24 \u2013 October 17 2010
\n\u201cUniversal Archive: The Condition of the Document and the Modern Photographic Utopia.\u201d Museu Colec\u00e7ao Berardo, Lisbon, Portugal March 9 \u2013 May 3
\n\u201cThe Art of Caring.\u201d New Orleans Museum of Art. May 16 \u2013 October 7.
\n[Solo] \u201cPortraits.\u201d The Rose Art Museum, Waltham, MA. April 29 \u2013 July 26 (Show cancelled due to closing of Museum).<\/p>\n
2008
\n\u201cModern Archive. The Condition of the Document and the Modern Photographic Utopia.\u201d
\nMuseum of Contemporary Art, Barcelona, Spain. October 3 \u2013 July 1 2009
\n\u201cStriking Resemblance: The Portrait as Muse.\u201d Norton Museum, Miami, West Palm Beach, FL,
\nNov. 22 \u2013 Feb. 15 2009
\n\u201cWFMU Exhibition and Benefit Sale.\u201d Printed Matter, New York, December 6 \u2013 13
\n\u201cOutsider: Tourism, Migration and Exile.\u201d Santa Fe Art Institute, Sante Fe, NM
\n\u201c2018: Fate, Fortune, Coming Times.\u201d LessThanThree Gallery, Long Island City, NY. April
\n\u201cVisiting Artist Exhibit\u201d, Santa Fe Art Institute, October
\n\u201cClose Encounters; Facing the Future.\u201d The American University College of Arts and Science,
\nSept 13- Oct 26
\n\u201cHighlights from the Photography Collection: University of Florida\u2019s Photographic Legacy.\u201d The Harn Museum, Gainesville, FL, Oct. 10th \u2013 Feb. 22
\n[Solo] \u201c\u2018Bavarian by Law\u2019 is in place.\u201d JEMA, Leavenworth, WT, April 9.
\n[Solo] \u201cPortraits.\u201d The Center for Art and Visual Culture, University of Maryland Baltimore College, Baltimore, MD, January 31 \u2013 March 22,.<\/p>\n
2007
\n[Solo] \u201cGroup Show.\u201d (title) Sonnabend Gallery, Art Basel, Basel, Switzerland, December\/January 2008
\n\u201cWall Street in Cuba.\u201d Sonnabend Gallery at Miami Art Basel, December
\n[Solo] \u201cGroup Portraiture.\u201d The Sonnabend Gallery, NY, December 8, 2007- January 26, 2008.
\n[Solo] \u201cGerman Indians.\u201d Savannah College of Art and Design, October.
\n\u201cBrasil Des Focos [o olho de fora].\u201d Pa\u00e7o Das Artes Organiza\u00e7\u00e3o Social De Cultura, Rio De Janeiro, Brazil,
\nJuly 30 \u2013 September 16 2007
\n[Solo] \u201cLocation\/Dislocation.\u201d Alliance Fran\u00e7aise, New York, May.
\n\u201cSpecial show: the Photography Collection\/SK Cultural Foundation, Cologne: A look at
\nthe collection\/contemporary portrait photography.\u201d Art Cologne, Cologne, April
\n\u201cGerman Indians.\u201d Savannah College of Art and Design, October 2007
\n\u201c\u201dThe Photography Collection\/SK Cultural Foundation, Cologne: A look\u201d, \u201cThe Photography Collection\/SK
\nCultural Foundation, Cologne, April 2007
\n\u201cNew Acquisitions\u201d, showing \u201cExile Brands.\u201d Museum of Contemporary Art, Miami, August-October
\n\u201cLocation\/Dislocation.\u201d Alliance Fran\u00e7aise, New York, May
\n\u201cNew Acquisitions.\u201dMuseum of Contemporary Art, Miami, August-October<\/p>\n
2006
\n\u201cDon\u2019t Know Much About History.\u201d ArtSpace, New Haven, Ct, November 18 -January 20
\n[Solo] \u201cBrooklyn Abroad.\u201d Sonnabend Gallery, September.
\n\u201cWhat is an icon?.\u201d Krannert Art Museum, University of Illinois, Champaign, October
\n\u201cDateline Israel: New Photography and Video Art,\u201d The Jewish Museum New York, March 10 -August 05
\n\u201cUniversal Experience: Art, Life, and the Tourist\u2019s Eye.\u201d Mart Museum Rovereto, Italy March
\n\u201cThe 6th Photo Festival.\u201d Gana Art Center, Seoul, South Korea, June 2006
\n[Solo] \u201cNYNYLVNV and Global Village.\u201d Sonnabend Gallery, May
\n\u201cThe Jewish Identity Project\u201d at The Contemporary Jewish Museum, San Franciso,
\n\u201cRecent Aquisitions.\u201d Museum of Contemporary Photography, Chicago, Spring
\n\u201cThe Last Show.\u201d Cooper Union, May 2006<\/p>\n
2005
\n\u201cAmerican Matrix: Contemporary Directions for the Harn Museum Collection Part 1 and 2.\u201d Oct. 22, 2005 \u2013 May 30, 2006
\n[Solo] \u201cThe Transportation of Place.\u201d Photographische Sammlung, Cologne, Germany, October 21 2005 \u2013 January 15.
\n[Solo] \u201cBrooklyn Abroad.\u201d Museum Kunstpalast, Duesseldorf, Germany, November 5 2005 \u2013 January 8, 2006.
\n[Solo] \u201cSt. Pierre and Miquelon \u2013 the Video.\u201d LOOP festival, Barcelona, Nov 10, 2005.
\n\u201cThe Jewish Identity Project.\u201d The Jewish Museum, New York, Sept. 22 \u2013 Jan 22 2006.
\n\u201cUniversal Experience: Art, Life, and the Tourist\u2019s Eye.\u201d Museum of Contemporary Art, Chicago, Feb 12 \u2013 June 5.
\n\u201cUniversal Experience: Art, Life, and the Tourist\u2019s Eye.\u201d Hayward Gallery, London, England, fall 2005<\/p>\n
2004
\n[Solo] \u201cGerman Indians.\u201d Bernard Toale Gallery, Boston, MA, October.
\n[Solo] \u201cWhere Do You Think You Are?\u201d Sonnabend Gallery, New York, NY, February.
\n[Solo] \u201cAndrea Robbins and Max Becher.\u201d Sun Valley Center for the Arts, Sun Valley, Idaho.
\n[Solo] \u201cLoop \u201900 Video Festival.\u201d Barcelona
\n\u201cWhite: Whiteness and Race in Contemporary Art.\u201d International Center of Photography, New York
\n\u201cOnly Skin Deep.\u201d Seattle Art Museum, Seattle, WA<\/p>\n
2003
\n[Solo] \u201cPortraits.\u201d Sonnabend Gallery, New York, NY.
\n\u201cSelections from the Lewitt Collection.\u201d New Britain Museum of American Art, Lexington, CT
\n\u201cPrintemps de Septembre de Toulouse.\u201d Toulouse, France
\n\u201cOnly Skin Deep\u201d International Center of Photography, New York, NY
\n\u201cHow Human: Life in the Postgenome Era.\u201d International Center of Photography, New York, NY. Feb. 28 \u2013 May 25.
\n\u201cWhite: Whiteness and Race in Contemporary Art.\u201d The Center for Art and Visual Culture,
\nU. of Maryland, Baltimore County. Oct. 9 2003 \u2013 Jan. 10 2004.
\n\u201cThe American Effect.\u201d Whitney Museum of American Art, New York, NY. July 3\u2013Oct. 12.
\n[Solo] \u201cThe Transportation of Place.\u201d Museum of Contemporary Photography, Chicago, IL. Jan 10 \u2013 Mar 5.<\/p>\n
2002
\n[Solo] \u201cFigures \u2026\u201d Sonnabend Gallery, New York, NY
\n[Solo] \u201cGerman Legacies.\u201d Harn Museum, Gainesville, FL
\n[Solo] \u201cOld Tucson and Almeria.\u201d Galerie Senda, Barcelona, Spain
\n\u201cWhat\u2019s New: Recent Acquisitions in Photography.\u201d Whitney Museum of American Art, New York, NY
\n\u201cNew Visions of the West-Contemporary Gallery.\u201d Nassau County Museum of Art, Roslyn Harbor, NY
\n\u201cBeyond Barbizon.\u201d Dan Elias Fine Art, Boston, MA.
\n\u201cFrom Pop to Now.\u201d The Tang Teaching Museum and Art Gallery, Skidmore College,
\nSaratoga Springs, New York, NY<\/p>\n
2001
\n[Solo] \u201cA Survey 1991-2000.\u201d Sonnabend Gallery, New York, NY
\n[Solo] \u201cRecent Works.\u201d Leslie Tonkonow Gallery, New York, NY
\n[Solo]\u201cAndrea Robbins and Max Becher.\u201d Yerba Buena Center for the Arts, San Francisco, CA
\n\u201cDocumentary Fortnight.\u201d Museum of Modern Art, New York
\n\u201cDocumentary Processes.\u201d Museum of Contemporary Art, Barcelona, Spain
\n\u201cRitual and Religion.\u201d Robert B Menschel Photography Gallery, Syracuse University, New York<\/p>\n
2000
\n\u201cBiennale de Lyon d\u2019Art Contemporain.\u201d Halle Tony Garnier, Lyon, France
\n\u201cAbove and Beyond.\u201d Yerba Buena Center for the Arts, San Francisco, CA
\n\u201cInto Our Prime: Acquisitions Since 1996.\u201d Center for Creative Photography,
\nUniversity of Arizona, Tucson, AZ
\n\u201cMiami Arts Project.\u201d Miami, FL
\n\u201cOn Sight: Contemporary Photographers of Place\u201d The Center for Curatorial Studies Museum,
\nBard College, Annandale on Hudson, NY
\n\u201cContemporary Art From the Collection of The Jewish Museum.\u201d Samuel P. Harn Museum of Art,
\nU. of Florida, Gainesville, FL, Sheldon Memorial Art Gallery, U. of Nebraska, Sheldon, NE,
\nParrish Art Museum, Southampton, NY, Huntington Mus. of Art, Huntington, WV, [2001]<\/p>\n
1999
\n[Solo] \u201cGerman Indians.\u201d Leslie Tonkonow Artworks + Projects, New York, NY
\n[Solo] \u201cBavarian by Law\u201d and \u201cGerman Indians.\u201d Gallerie Windows, Brussels, Belgium
\n[Solo] \u201cRemotely Viewed.\u201d American Fine Arts, New York, NY
\n\u201cPhotography: An Expanded View.\u201d Solomon R. Guggenheim Museum, Bilbao, Spain
\n\u201cArchitecture?\u201d Vaknin Schwartz, Atlanta, GA
\n\u201cPersuasion.\u201d Lombard-Freid Fine Arts, New York, NY
\n\u201cArtists in Residence.\u201d Altos de Chavon Gallery, La Romana, Dominican Republic
\n\u201cFull Exposure: Contemporary Photography.\u201d New Jersey Center for Visual Arts, Summit, NJ
\n(AR) \u201cConceptual Art as Neurobiological Praxis.\u201d Thread Waxing Space, New York, NY
\n\u201cPhotography: An Expanded View.\u201d Solomon R. Guggenheim Museum, New York, NY
\n\u201cThe Cultured Tourist.\u201d Carol Eilers Gallery, Ltd , Chicago, IL<\/p>\n
1998
\n[Solo] \u201cBavarian by Law\u201d and \u201cGerman Indians.\u201d Robert B. Menschel Photography Gallery, Syracuse, NY. Aug 31 \u2013 Oct. 25.
\n[Solo] \u201cDachau\u201d and \u201cGerman Indians.\u201d Vaknin Schwartz, Atlanta, GA
\n\u201cThe Cultured Tourist.\u201d Leslie Tonkonow Artworks + Projects, New York, NY
\n\u201cSelections\/Contemporary Photography.\u201d The Jewish Museum, New York, NY
\n\u201cThe Cottingley Fairies and other Apparitions.\u201d Memphis Brooks Museum of Art, Memphis, TN
\n\u201cThe Cottingley Fairies and other Apparitions.\u201d Leslie Tonkonow Artworks + Projects, New York, NY<\/p>\n
1997
\n[Solo] \u201cDachau\u201d Michael Solway Gallery, Cincinnati, OH
\n[Solo] \u201cDachau\u201d Basilico Fine Arts, New York, NY
\n\u201cCritical Images: Conceptual Works from the 1960s to the Present.\u201d Leslie Tonkonow Artworks + Projects, New York, NY<\/p>\n
1996
\n[Solo] \u201cShrinking People, Exiled Cigars, and Galloping Dinosaurs.\u201d Basilico Fine Arts, New York, NY
\n\u201c100 Photographs.\u201d American Fine Arts, Co., New York, NY
\n\u201cCulture and Continuity: The Jewish Journey.\u201d The Jewish Museum, New York, NY
\n\u201cWestern Views: A Photographic History of Land Use in the West.\u201d San Francisco Museum of Modern Art, San Francisco, CA<\/p>\n
1995
\n1995 [Solo] \u201cHolland.\u201d Basilico Fine Arts, New York, NY
\n\u201cThe Cultured Tourist.\u201d curated by Leslie Tonkonow, Center for Photography at Woodstock,
\n\u201cWoodstock, NY
\n\u201cSummer Fling.\u201d Basilico Fine Arts, New York, NY<\/p>\n
1994
\n[Solo] \u201cHolland\/colonial remains.\u201d Kunstverein, Hamburg, Germany
\n[Solo] \u201cHolland\/colonial remains.\u201d de Vleeshal, Middelburg, The Netherlands
\n[Solo] \u201cWall Street in Cuba\/colonial remains.\u201d Kanaal Art Foundation, Kortrijk, Belgium
\n[Solo] \u201cOld Tucson\/Wall Street in Cuba.\u201d Basilico Fine Arts, New York, NY
\n\u201cIn the Field: Landscape in Recent Photography.\u201d Margo Leavin Gallery, Los Angeles, CA
\n\u201cArtists Select.\u201d Robbins\/Becher selected by Martha Rosler, Artists Space, New York, NY
\n\u201cTrade Routes.\u201d curated by Laura Trippi, The New Museum of Contemporary Art, New York, NY<\/p>\n
1992
\n[Solo] \u201cColonial Remains.\u201d Berland Hall Gallery, New York, NY
\n(MB) \u201cGreen Acres: Neocolonialism in the U.S.\u201d curated by Martha Rosler,
\nWashington University Gallery of Art, St. Louis, MO<\/p>\n
1989 (MB) \u201cIf You Lived Here\u2026: Housing, Homelessness, City.\u201d curated by
\nMartha Rosler, Dia Art Foundation, New York, NY
\n1989 [Solo] (MB) \u201cTravel Exhibit.\u201d Zimmerli Art Museum, New Brunswick, NJ
\n1989 [Solo] (AR) \u201cStill-Life Maintenance.\u201d Hunter Gallery, Thomas Hunter Hall, New York, NY<\/p>\n
1987
\n\u201cLandmarks of New York.\u201d Harry N. Abrams Publishing Co.<\/p>\n
1986
\n\u201cJardin Secret.\u201d Arca Centre d\u2019art Contemporain, Marseilles, France
\n[Solo] \u201cA Portrait of Felix Buchloh.\u201d Arthur A. Houghton Gallery, New York, NY<\/p>\n
Recent Public Lectures<\/p>\n
2014
\n\u201cAndrea Robbins and Max Becher.\u201d University of Manitoba, School of Art, November 12<\/p>\n
2012
\n\u201cThe Transportation of Place.\u201d Photospring, Beijing, April<\/p>\n
2008
\n\u201cAndrea Robbins and Max Becher.\u201d Tipton Hall, Santa Fe Art Institude, June 2<\/p>\n
\u201cConversations with Artists.\u201d The Phillips Collection, Center for the Study of Modern Art,
\nWashington D.C, March 14, 2008
\n\u201cAndrea Robbins\/Max Becher.\u201d University of Maryland Baltimore County, January 30
\n\u201cLecture: Andrea Robbins and Max Becher\u201d, University of South Florida, School of Art and Art History, January 24, 2008<\/p>\n
2007
\n\u201cAndrea Robbins and Max Becher: Artist Talk.\u201d MICA (Maryland Institute College of Art),
\nSept. 24,\u201807, Brown Center\u2019s Falvey Hall at 1301 Mount Royal Ave, Baltimore, MD
\n\u201cThe Transportation of Place.\u201d Keynote Lecture at SPE Southeast Region, SCAD
\n(Savannah College of Art and Design), Oct. 11, \u201807, Trustees Theater, Savannah
\n\u201cAndrea Robbins and Max Becher\u201d TC Colley Lecture, Oct. 16, \u201807, RISD Auditorium,
\n17 Canal St., Providence, RI
\n(AR) \u201cThe Success and Failure of Modernist Photography\u201d, Panel Discussion,
\nThursday, Oct. 18, \u201807, Harn Museum, Gainesville
\n\u201cPRC Lecture by Andrea Robbins and Max Becher.\u201d Thursday, Nov. 15, \u201807,
\nPhotonics Center Auditorium, Boston<\/p>\n
BIBLIOGRAPHY<\/p>\n
Books\/Articles authored<\/p>\n
2024
\n\u201cThe Matsuki Construction.\u201d Text and photos by Robbins\/Becher. Dr. Shep Steiner, editor. Mosaic, vol. 55, no. 2. March. University of Manitoba, Canada.<\/p>\n
2016
\n\u201cAndrea Robbins and Max Becher: Black Cowboys.\u201d With essays\/interviews by Eva Schmidt, Shephard Steiner, and Robbins\/Becher. La Fabrica Madrid, with Foundation ICO Madrid and Museum f\u00fcr Gegenwartskunst Siegen, March
\n\u201cBlack Cowboys Board Book.\u201d Art by Andrea Robbins & Max Becher, written by Kyla Ryman. Homegrown Books, New York, 2015.<\/p>\n
2010
\n\u201cPie Issue 01: Repetition.\u201d \u201c770\u201d (Photo spread)<\/p>\n
2008
\n\u201cPortraits.\u201d Maurice Berger, Andrea Robbins and Max Becher (Essay\/Photographs),
\nEditor: Charlotte Carter, University of Maryland Baltimore County, publisher, January 08
\n\u201cGerman Indians\u201d, P\u00e1rq Pordigal Magazine (Portugal), 3rd ED, 6 pages, February<\/p>\n
2007
\n\u201cWhere Do You Think You Are?\u201d Draft Magazine Issue 6, Winter 2007\/08 p.22-25
\n\u201cArt Cologne 41st International Fair \u2013 Special Exhibition of Die Photographische Sammlung\/
\nSK Stiftung Kultur, Cologne\u201d Catalog, April 18-22 p. 68-69
\n\u201cThe 1980s: An Internet Conference\u201d by Maurice Berger, Andrea Robbins and Max Becher (Selected Writings).<\/p>\n
2006
\n\u201cThe Transportation of Place: the Work Of Andrea Robbins and Max Becher.\u201d Lucy Lippard
\nand Maurice Berger (Essays) Aperture Press, April
\n\u201cBrooklyn Abroad.\u201d Nora Alter and Rupert Pfab (Essays), May<\/p>\n
1995
\n\u201cThe Exile Brands.\u201d Text and photos by Robbins\/Becher. Documents Magazine, Spring\/Summer 1995 p. 66 \u2013 69<\/p>\n
1994
\n\u201cAndrea Robbins and Max Becher.\u201d Kanaal Art Foundation. Texts by Catherine de Zegher, Benjamin Buchloh, Everlyn Nicodemus. 88 pgs.<\/p>\n
ARTICLES:<\/p>\n
2024
\n\u201cChabad Headquarters or Henry VIII Residence?\u201d Adam Iscoe, The New Yorker. Online. January 22. Print edition of January 29 under \u201cA Shul Is a Shul Is a Shul.\u201d
\n\u201cThe Famous History of the Brooklyn Synagogue That Went Viral.\u201d Maya Pontone. Hyperallergic. January 10<\/p>\n
2023
\n\u201cStuff: Instead of a Memoir.\u201d Lucy Lippard. New Village Press. September 12. Page 58.<\/p>\n
2022
\n\u201c770 IS HERE! Bricks, aura, and the multiplication of the Lubavitcher Messiah.\u201d George Prochnik. Cabinet Magazine. Includes eight reproductions from the 770 series. Nov. 3
\n\u201cNot Native American Art: Fakes, Replicas, and Invented Traditions.\u201d By Janet Catherine Berlo, foreword by Joe Horse Capture. University of Washington Press. Pgs 83-84.September.<\/p>\n
2021
\n\u201cThe most copied Jewish building in the world.\u201d Online discussion Re the 770 buildings with Andrew Silverstein, Eli Meltzer, Robbins\/Becher, moderated by Adam Langer. Forward.com. Nov 3.
\n\u201cHow 770 Eastern Parkway became the world\u2019s most-recognizable Jewish building.\u201d Andrew Silverstein. The Forward. Includes three reproductions from the 770 series. Oct. 1
\n\u201cEn Espa\u00f1a. Fotograf\u00eda, encargos, territorios, 1983\u20132009. [catalog]\u201d Museo Ico, pgs. 154,155<\/p>\n
2020
\n\u201cWassert\u00fcrme als monstr\u00f6ser Blickfang: Ausstellung huldigt der Becher-Schule und geht doch \u00fcber diese Form der Foto-Kunst hinaus\u201d. David Schahinian, H\u00f6chster Kreisblatt, October 16
\n\u201cBlack Cowboys.\u201d EXIT 77, Minorities. Pages 84-95
\nIn \u2018Walls Turned Sideways,\u2019 Artists Question The \u2018Justice\u2019 Of Our Justice System, Pamela Reynolds, The ARTery \u2013 WBUR, January 20<\/p>\n
2019
\n\u201cNativist Americans: Andrea Robbins and Max Becher at Spr\u00fcth Magers Gallery.\u201d Wall Street International, May 14
\n\u201cThe improved order of Red Men (2017) by Andrea Robbins & Max Becher.\u201d The Daily Telegraph, May 18
\n\u201cSchaut mal her.\u201d Der Tagesspiegel, April 26
\n\u201cGallery Art Weekend Berlin: Our top 10 guide of the must-see exhibits at the 15th edition of the prestigious art festival.\u201d Sleek, April 23, 2019
\n\u201cBrought to Justice: Colby Chamberlain on Walls Turned Sideways.\u201d Artforum, January
\n\u201cRising Tides and Climate Change Color the Venice Biennale This Year.\u201d Anna Souter, Hyperallergic.com, June 24<\/p>\n
2018
\n\u201cA New Photo Exhibition In Milan Explores \u2018What Does It Mean To Be A Man Now?\u2019\u201d The Fashion Plate, November 3
\n\u201cA cole\u00e7\u00e3o Sonnabend, The Sonnabend Collection, Part 2.\u201d Texts by Antonio Homem, Jo\u00e3o Ribas, pgs. 36-37 66-73, Serralves Museum, Porto, 2018
\n\u201cDream Drives: Quiet Beauty At Berman Museum Of Art.\u201d (TV Broadcast). Meisha Johnson, January 12
\n\u201cArtists cast a cool eye on the places we make.\u201d Thomas Hine, Philadelphia Inquirer, January 5
\n\u201c15 artists respond to architecture\u2019s vernacular at the Berman Museum.\u201d Artdaily.org, January<\/p>\n
2017
\n\u201cART: Works by 15 artists in new exhibit at Ursinus looks at architecture as art form.\u201d Brian Bingaman, Sep 14
\n\u201cExposures: Photography and Germany.\u201d Andr\u00e9s Mario Zervig\u00f3n, pgs 203-204
\n\u201cReverence and Reconstruction.\u201d Frances Halsband and Eli Meltzer with photographs by Andrea Robbins and Max Becher, Faith and Form, Volume 50, cover and pgs. 18-20 and at faithandform.com, July
\n\u201cThinking about walls.\u201d Joanne Palmer, New Jersey Jewish Standard online, May 4
\n\u201cEdle Wilde, schwarze Cowboys.\u201d Lorenzo Zimmer, Schw\u00e4bisches Tagblatt, p.6, April 28
\n\u201cDer Wilde Westen war Schwarz.\u201d Dr. Christiane Hoffmans, Welt am Sonntag, p.58, March 5
\n\u201c770s: Global Mini-architectural Boom.\u201d Rachel Holliday Smith, Shturem.org, March
\n\u201cIm Zeichen der Bechers.\u201d Dorothee Achenbach, Rheinische Post Online, February 6
\n\u201cDie H\u00f6hepunkte vom Photo-Weekend in D\u00fcsseldorf.\u201d Dorothee Achenbach, Rheinische Post Online, February 5<\/p>\n
2016
\n\u201cBecoming \u2018Der Indianer\u2019: Andrea Robbins and Max Becher\u2019s German Indians.\u201d Erina Duganne, Crossroads in American Studies: Transnational and Biocultural Encounters, edited by Frederike Offizier, Marc Priewe, and Ariane Schr\u00f6der, Winter
\n\u201cTrue grit: Black Cowboys \u2013 in pictures.\u201d Steven W. Thrasher, The Guardian Online, August 31
\n\u201cRobbins y Becher. El desplazamiento cultural.\u201dMario S\u00e1nchez. Albedomdeia.com. August 19
\n\u201cAndrea Robbins and Max Becher, \u2018Displacements\u2019.\u201d George Stolz. Critic\u2019s Guide: Madrid, Frieze.com, August 1
\n\u201cAndrea Robbins & Max Becher.\u201d exporartemadrid.com, July 7
\n\u201cDisplacements. Retrospective exhibition on Robbins & Becher.\u201d Claudia Cendoya. metalocus.es, June
\n\u201c16 Outstanding Photography Shows at PHotoEspa\u00f1a 2016.\u201d Jack Crager, americanphotomag.com, June 13
\n\u201cExposici\u00f3n de Robbins & Becher, un equipo creativo con mirada cr\u00edtica hacia el mundo.\u201d fotografodigital.com, June 21
\n\u201cRobbins & Becher. Displacements.\u201d Julio Cesar Abad Vidal, juliocesarabadvidal.wordpress.com, June 16
\n\u201cFotograf\u00edas de Andrea Robbins y Max Becher: un lugar transportado.\u201d Anna M. Serrano, loff.it, June 9, 2016
\n\u201cRobbins & Becher, Desplazamientos en ICO, [PHE\u201916]\u201d edgargonzalez.com, June 6
\n\u201cRobbins & Becher, \u00bfEstamos Aqui?\u201d Elena Vozmediano, El Mundo\/El Cultural, June 3-
\n\u201cRobbins y Becher, fuera de lugar.\u201d masdearte.com, June 6
\n\u201cRobbins & Becher, Desplazamientos.\u201d Lamiradafotografica. June 2
\n\u201cLos lugares transportados de Robbins y Becher.\u201d hoyesarte.com, June 1
\n\u201cGenuinamente extra\u00f1o. Los lugares transportados de Robbins y Becher,\u201d Pl\u00e1cet, June 1
\n\u201cDarth Vader zwischen Tradition und Moderne.\u201d Tobias Sch\u00fcrmann, WAZ, April 10
\n\u201cBewegte Orte.\u201d Eberhard Hess, Photo International, pgs 38-53, April
\n\u201cAndrea Robbins \/ Max Becher: Black Cowboys\u201d [Book review], Deutsche Gesellschaft f\u00fcr Photographie, EV.
\n\u201cSattelfest: Der Band Black Cowboys hebt endlich neue Reiter aufs Pferd.\u201d [Book review]. Philipp Bovermann. S\u00fcddeutsche Zeitung. April 13, page 14.
\n\u201cFotok\u00fcnstler Max Becher: Ein Becher-Spross ohne die Becher-Schule.\u201d Helga Meister, Westdeutsche Zeitung, March 20.
\n\u201cSozialkritischer Blick auf Menschen, Kulturen und Orte: Andrea Robbins und Max Becher pr\u00e4sentieren im Museum f\u00fcr Gegenwartskunst \u2018Verlagerungen\u2019. March 14.
\n\u201cDisplacements \/ Verlagerungen. Andrea Robbins \/ Max Becher.\u201d art-in-de, March 16.
\n\u201cDer Fotograf Max Becher im Gespr\u00e4ch.\u201d [Radio interview] Claudia Dichter. WDR 5, March 17.
\n\u201cDer Fotograf Max Becher im Samstagsgespr\u00e4ch.\u201d [Radio interview] Raoul M\u00f6rchen. WDR 3, March 19.
\n\u201cBillboard Project de regresso com dupla inaugura\u00e7\u00e3o\u201d Agricultura e Mar Actual, Fev 18
\n\u201cD\u00fcsseldorf: Becher-Erbe bleibt im Rheinland. Bosetti, Annette Bosetti. [Review of Siegen exhibit]. Feb 1.<\/p>\n
2015
\n\u201cAndrea Robbins and Max Becher: Following the Ten Commandments.\u201dJessica Evans, C Magazine Issue 26, pgs. 56-57, Summer
\n\u201cCiudades sin identidad.\u201d Noelia Hernandez, La Vanguadia, June 17
\n\u201cAfter Landscape. Ciutats Copiades.\u201d Irene Pujadas. butxaca.com, March 26
\n\u201cFabra & Coats muestra la tendencia de la arquitectura a autorreplicarse.\u201dLa Vanguadia, March 13
\nAndrea Robbins and Max Becher Document Overlaps Between Church and State.\u201dJohn Patterson, canadianart.ca, February 25\u2033
\nShephard Steiner, curator of Following the Ten Commandments, interviewed by Aleem Khan & Derek Brueckner\u201d, Eat Your Arts & Vegetables, CKUW 95.9 FM Winnipeg, January 22
\n\u201cGraven Images.\u201d Steven Leyden Cochrane, Winnipeg Free Press, p.7, November 27
\n\u201cSo-Called Separation of Church and State.\u201d Lauren Siddall, The Manitoban, p.14, November 24<\/p>\n
2014
\n\u201cVenice, Las Vegas #3\u201d, Come Together, Surviving Sandy, Year One (catalog).pgs.128-129
\n\u201cAndrea Robbins and Max Becher @Sonnabend.\u201d Loring Knoblauch, collectordaily.com, October 15
\n\u201cA Crown Heights Building Has Doubles in Brazil, Israel, Australia and More.\u201d Michelle Young, untapped cities.com, August 29
\n\u201cThis Crown Heights Building Has Been Replicated All Over the World.\u201d Nicole Vranjican, August 28, New York Observer
\n\u201cGallery Depicts 770 Replicas All Over the World.\u201d Crownheights.info, August 25
\n\u201cSpiritual Home of Crown Heights Rabbi Inspires Replicas Across the World.\u201d Rachel Holliday Smith, DNAinfo New York, August 25
\n\u201cAndrea Robbins and Max Becher Venice, Las Vegas: Spectacle and Similarity.\u201d Collin Sundt, cometogethersandy.com<\/p>\n
2013
\n\u201cEin Jahr nach Sandy.\u201d Claudia Bodin, Art: Das Kunstmagazin, October 10.
\n\u201cThe Sonnabend Collection 31 May \u2013 29 September 2013 at Ca\u2019 Pesaro, Venice.\u201d WallStreetInternationalMagazine.com
\n\u201cThe Rebbe\u2019s Brooklyn Abode \u2026 in Brazil.\u201d Tamar Fox, Jewnivers.com, July 25
\n\u201cContact Sheet 173: 40 Artists\/40 Years: Selections from the Light Work Collection.\u201d Pg.26. August
\n\u201cfALSEfAKES \u2013 VRAIFAUXSEMBLANTS: 4th photo-triennal 50 JPG (50 Jours pour la Photographie \u00e0 Gen\u00e8ve).\u201d
\nphotographynow.com<\/p>\n
2012
\n\u201cKunstwerk des Monats: Franchise Gemeindehaus. Max Becher & Andrea Robbins \u2018Milan, Italy & Sao Paulo, Brazil\u2019\u201d.
\nSiegener Zeitung, October 5
\n\u201cKunstwerk des Monats, Oktober 2012: Max Becher & Andrea Robbins, Acht Werke aus der Serie \u2018770\u2019.\u201d Ines Ruettinger, Museum f\u00fcr Gegenwartskunst Siegen, October
\n\u201cVon Bild und Vorstellung.\u201d Siegener Zeitung, October
\nPhotoireleand 2012 in focus: Andrea Robbins and Max Becher (interview).\u201d Sarah Allen, Totally Dublin, July 13
\n\u201cPhotoIreland 2012 \/ Interview with curator Moritz Neumueller.\u201d Dorothy Hunter, photomonitor.co.uk<\/p>\n
2011
\n\u201c\u2019Elende Orte, edle Bilder\u2019 Wiederkehrende Wirklichkeiten in der Fotoserie Global Village von Andrea Robbins und Max Becher.\u201d Leena Crasemann, Re-Inszenierte Photographie, pgs. 69-96
\n\u201cAndrea Robbins and Max Becher: Mobile Place.\u201d Mobile\/Immobile: Choices and Rights for 2030. pgs. 124-131
\n\u201cCritics\u2019 Picks: Project Europa: Imagining the (Im)Possible.\u201d Artforum.
\nWallach Art Gallery Exhibition Examines Europe After the Berlin Wall.\u201d myScience.us
\n\u201cBlack cowboys in Venice.\u201d Mrs. Deane (author), Mrs. Deane (blog), May 25 (http:\/\/www.beikey.net\/mrs-deane)
\n\u201cAndrea Robbins and Max Becher: Venice Las Vegas.\u201d theWeek Magazine, March 10
\n\u201cThe Daily Pic: Venice Goes Vegas: Palladio meets Venturi and Brown.\u201d Blake Gopnic. The Daily Beast, February 10
\n\u201cNew York: A Photographer\u2019s City.\u201d Marla Hamburg Kennedy, ed., pgs. 178-179<\/p>\n
2010
\nLecture: \u201cEchte Orte, falsche Bilder? Wiederkehrende Wirklichkeiten bei Andrea Robbins
\nund Max Becher, by Leena Crasemann (Freie Universitaet Berlin) part of the lecture
\nseries \u201cRe-Inszenierte Fotografie.\u201d Berlin August 4
\n\u201cGopnik\u2019s Daily Pic: Black Cowboys.\u201d Blake Gopnik, The Washington Post, October 17
\n\u201cHow Much Work Is Too Much to Install?\u201d Edward Winkleman, edwardwinkleman.com, September 2
\n\u201cBefore and After, Paris 20e. Galerie Balice Hertling.\u201d Laura Bayodd, paris-art.com
\n\u201cProject Europa: Imagining the (Im)Possible.\u201dKerry Oliver-Smith, With Essays by
\nMarius Babias and Boris Groys
\n\u201cEscape into Life: Andrea Robbins and Max Becher.\u201d
\nwww.escapeintolife.com\/artist-watch\/andrea-robbins-and-max-becher\/
\n\u201cDreamlands: Des parcs d\u2019attractions aux cit\u00e9s du futur.\u201d Centre Pompidou, pgs 252-253<\/p>\n
2009
\n\u201cAfter the Digital Divide?: German Aesthetic Theory in the Age of New Media.\u201d
\nEdited by Lutz Koepnick and Erin McGlothlin, pg. 202
\n\u201cThe Art of Caring: A Look at Life Through Photography.\u201d Cynthia Goodman, pgs 45, 247
\n\u201cCahier: The Photoresque: Landscape and Modernity.\u201d Edited by Geert Goiris and
\nSteven Jacobs, \u201c770\u201d photos pgs. 59-61<\/p>\n
2008
\n\u201cUMBC Jewish Photo Exhibit.\u201d Judy Oppenheimer, Jewish Times Baltimore
\n\u201cThe Photographer as Customs Inspector: Judgement Mars the Focus.\u201d Jessica Dawson,
\nWashington Post, February 29, 2008, C02
\n\u201cStriking Resemblance: The Portrait as Muse : Valerie Belin, Andrea Robbins & Max Becher,
\nHiroshi Sugimoto, Bill Viola.\u201d Charles Steinback, Maurice Berger, pgs. 24-25, 28-49, 53-54<\/p>\n
2007
\n\u201cBrasil Des Focus [o olho de fora]\u201d Brasil Des Focus Catalog,
\nphotos p.75-79, articles (English versions) pgs. 174,183-184
\n\u201cLes Etats-Unis en France et vice et versa.\u201d Solenn Poullennec, frenchmorning.com
\n\u201cFuori Posto!\u201d Focus, March 2007, p.104-109
\n\u201cThe Rabbi\u2019s House is \u2026 Were?\u201d NewsMax Magazaine, March 2007, p. 60
\n\u201cDarth Vader.\u201d October Magazine 119, Winter 2007, pgs. 148-149<\/p>\n
2006
\n\u201cVitamin PH.\u201d Rachel Haidu, Phaidon (Article), pgs.230-234
\n\u201cShow Gives Art History New Meaning.\u201d Ben Genocchio, New York Times, December 31
\n\u201cThe Portable Legacy: Why Is an Unremarkable Brooklyn Building Being Replicated Worldwide?\u201d
\nGabriel Sanders, The Forward, Fri. Dec 29, 2006, p. b1 and cover
\n\u201cFokus auf Andrea Robbins und Max Becher: Dirndl in Washington.\u201d
\nFrankfurter Rundschau Magazin, Dec. 9, 2006, p.8
\n\u201cGlobal Village.\u201d Adbusters Magazine, September\/October 2006, pgs. 2-3, 7, 38
\n\u201cControlled Scarcity: The Making of a Mass-Produced Collectible.\u201d Andrea Robbins (Essay),
\nRobbins\/Becher (Photography), Editor: Ivan Vartanian, Full Vinyl, pgs. 198-205
\n\u201cIllustrating That Looks Aren\u2019t Everything.\u201d Blake Gopnik, Washington Post, October 17
\n\u201cCloned Home.\u201d Sleek Magazine, Autumn 2006, pgs. 150-159
\n\u201cShape Shifters.\u201d Alexander McSpadden, Damn Magazine, p.94-98
\n\u201cNew York over there.\u201d Howard Halle, Time Out New York, September 28-October 4, p. 7
\n\u201cThe Hasidic Life.\u201d Angela Ashman, The Village Voice, September 27-October 3, 2006, p. 46
\n\u201cMy Place or Yours?.\u201d Elyssa Da Cruz, City Magazine, May\/June 2006, p. 34
\n\u201cGlobal Dislocation.\u201d Diane Smyth, The British Journal of Photography, April 26, 2006
\n\u201cAuch Max Becher probt den Paarlauf\u201d, Johanna Di Blasi, Kunstzeitung 115, March 2006, p. 25
\n\u201cThe Skirball to Host the Jewish Identity Project.\u201d The Jewish Observer, February 13-19
\n\u201cArte e vita\u201d, Uni News, February 11, 2006
\n\u201cUniversal Experience. Lo sguardo del turista\u201d, Francisco Bonami, Mart Communication, February 10,
\n\u201cPlaces out of Place\u201d, Gainesville Magazine, February 2006, pgs. 30-37<\/p>\n
2005
\n\u201cEinmal Indianerhaeuptling sein.\u201d Catrin Lorch, Frankfurter Allgemeine Zeitung, p. 39
\n\u201cBayern per Gesetz verordnet.\u201d Thomas Linden, Welt Magazin, October 21, 2005, p. 20
\n\u201cMax Becher: \u201cBin nicht Schueler meiner Eltern.\u201d Helga Meister, WZ Newsline, October 20
\n\u201cAround the world in eighty ways .\u201d London Times Online, September 24
\n\u201cThe art of travel.\u201d Simon Calder, The Independent News (online), October 8
\n\u201cVisual Art: Universal Experience: Tim Teeman at the Hayward Gallery.\u201d
\nThe London Times Online, October 6
\n\u201cAmerican Jewishness in All Its Infinite Variety.\u201d Grace Glueck, The New York Times, October 5
\n\u201c\u2018Jewish Identity\u2019 show is a real eye-opener.\u201d Celia McGee, New York Daily News, October 3
\n\u201cIl 770 di Milano nella Galleria di Andrea Robbins e Max Becher.\u201d Chabad (Italia), October 24
\n\u201cCameras Expose Hidden Diaspora.\u201d Mitchell Seidel, The Star Ledger, January 2
\n\u201cAndrea Robbins \/ Max Becher.\u201d Kunstaspekte, October 19
\n\u201cPhotography Review; A Global View lets Us See Differences Among Jews.\u201d Ariella Budick,
\nNewsday Inc., October 14
\n\u201cThe Jewish Identity Project: New American Photography.\u201d Grace Glueck, The New York Times,
\nBMCC News, October 11
\n\u201cHolidays in Hell.\u201d The Guardian, October 11
\n\u201cTransportation of Place.\u201d Pro Photo Online (newsletter), October 10
\n\u201cHolidays in hell at the Hayward\u2019s Universal Experience exhibition.\u201d Scenta, November 29
\n\u201cBrooklyn Abroad.\u201d Fenja, Terz, November 29
\n\u201cTransportation of Place \u2013 Brooklyn Abroad.\u201d Julia Scho, Kritische Ausgabe, November 19
\n\u201cO\u2019Keeffe Museum Research Center hosts online symposium on 1980s art, politics.\u201d The New Mexican, November 1
\n\u201cDirector\u2019s Notes.\u201d Karen Irvine, Uber+Punctum Newsletters, Museum of Contemporary Photography, May 31
\n\u201cAndrea Robbins, Max Becher; Verlagerte Identitaten.\u201d Art 49, May.
\n\u201cTransportation of Place.\u201d Michael Pfister, Field Report, March 12.
\n\u201cKuenstlerpaar Andrea Robbins und Max Becher in K\u00f6ln und Duesseldorf.\u201d Priska Hoflich, Galerien Virtuell, August 29
\n\u201cAndrea Robbins and Max Becher: German Indians at Bernard Toale Gallery.\u201d Francine Koslow Miller, Art on Paper, January\/February, p. 81
\n\u201cTaking on Skin Color, Art and Politics in \u2018White\u2019.\u201dCheryl DeVall, NPR, January 28.
\n\u201cPlaying on Black and White: Racial Messages Through a Camera Lens.\u201d Margo Jefferson, The New York Times, January 10.
\n\u201cUniversal Experience: Art, Life, and the Tourist\u2019s Eye.\u201d Glow Lab News, February 11.
\n\u201cUniversal Experience: Art, Life, and the Touris Eye.\u201d Electronic Flux Corporation, February 10.
\n\u201cImagined communities: Matthew J. Reisz joins the debate on Jewish identity at the Jewish Museum in New York.\u201d
\nMatthew Reisz, Jewish Quarterly, Autumn issue \u2013 Number 199
\n\u201cDeutung von Wirklichkeit.\u201d Kathe Brandt, Die Tageszeitung, August 11, 2005
\n\u201cUniversal Experience \u2013 Art, Life, and the Tourist\u2019s Eye.\u201d Art Facts
\n\u201cEvents: Universal Experience: Art, Life and the Tourist\u2019s Eye.\u201d Dichotomy Media
\n\u201cUniversal Experience: Art, Life, and the Tourist\u2019s Eye.\u201d Non Starving News Letter
\n\u201cUniversal Experience: Art, Life and the Tourist\u2019s Eye.\u201d Travel Channel
\n\u201cThe Jewish Identity Project: New American Photography.\u201d World Jewish News Agency
\n\u201cThe Jewish Identity Project: New American Photography.\u201d Yale University Press<\/p>\n
2004
\n\u201cWhite: Whiteness and Race in Contemporary Art.\u201d Maurice Berger, pages 33, 47-48
\n\u201cAndrea Robbins and Max Becher.\u201d Ken Johnson, The New York Times, March 12, p. B31
\n\u201cAndrea Robbins and Max Becher at Sonnabend.\u201d Eva Diaz, Art in America, October, p153
\n\u201cRealidad y representacion celccionar paisaje hoy.\u201d p.104-105
\n\u201cAndrea Robbins and Max Becher at Sonnabend Gallery.\u201d New York Magazine, February<\/p>\n
2003
\n\u201cThe American Effect\u201d [Whitney Museum exhibition catalogue], pgs. 22-23, 112-15, 133-35, 197, 206
\n\u201cLight Sabre.\u201d 2Wice Magazine
\n\u201cRobbins, Andrea & Becher, Max.\u201d Gestes [Printemps de Septembre catalogue], p.98
\n\u201cHow Human: Life in the Post-Genome Era.\u201d [International Center of Photography Exhibition catalogue], essay by Carol Squiers.<\/p>\n
2002
\n\u201cImages of transplanted Cultures: Interview with Andrea Robbins and Max Becher.\u201d World View (Chicago-based WBEZ\/National Public Radio show), January.
\n\u201cLondon Bridge Arizona.\u201d Andrea Robbins and Max Becher, October Magazine 100th issue, Spring 2002, p. 23
\n\u201cGlobal Breach: The Photos of Andrea Robbins and Max Becher.\u201d Andy Grundberg, Art on Paper, May\/June 2002, p. 57
\n\u201cAndrea Robbins and Max Becher.\u201d Rachel Singer, The Cooper Pioneer
\n\u201cAmericans in Saman\u00e1: Photographs by Andrea Robbins and Max Becher.\u201d Doubletake Magazine,
\nSpring 2002, p. 64
\n\u201cAndrea Robbins y Max Becher documentan en sus fotograph\u00edas el falso Far West.\u201d Jorge R. Pombo,
\nLa Vanguardia, Janaury 26, 2002
\n\u201cAndrea Robbins y Max Becher en Espai 292.\u201d Artnews Digital No. 428<\/p>\n
2001
\n\u201cAndrea Robbins and Max Becher.\u201d Roberta Smith, The New York Times, October 5, 2001, p. E31
\n\u201cAndrea Robbins and Max Becher.\u201d New York Magazine, October 2001
\n\u201cCritics\u2019 Picks: Andrea Robbins and Max Becher.\u201d Martha Schwendener, Artforum.com, September 2001
\n\u201cThings People Do Behind Masks.\u201d David Bonetti, San Francisco Chronicle, March 2001<\/p>\n
2000
\n\u201cAuf Nach Radebeul.\u201d Die Zeit, July 6, 2000, p.46
\n\u201c\u2018Exotic\u2019? Perhaps, Yet Neither Primitive Nor Pure.\u201d Alan Riding, The New York Times\/International
\nHerald Tribune, July 5.
\n\u201cAndrea Robbins and Max Becher.\u201d Edith Newhall, New York Magazine, January 3, 2000, p.10<\/p>\n
1999
\n\u201cAndrea Robbins and Max Becher.\u201d Grace Glueck,The New York Times, December 31, 1999
\n\u201cAndrea Robbins and Max Becher, \u2018German Indians\u2019.\u201d Sarah Schmerler, Time Out New York, December 1999
\n\u201cGerman Indians.\u201d Meredith Mendelsohn, artnet.com, December 17, 1999
\n\u201cOn the Beaten Track: Tourism, Art, and Place.\u201d Lucy Lippard, p. 46-47, 89, 120-122
\n\u201cRobbins\/Becher at Gallerie Windows.\u201d The Bulletin, p. 21
\n\u201cDans un monde d\u00e9boussol\u00e9.\u201d Alain D\u2019Hooghe, p. 17
\n\u201cConceptual Art as Neurobiological Praxis.\u201d (AR) Sue Spaid, The Village Voice, April 27, 1999
\n\u201cConceptual Art as Neurobiological Praxis.\u201d (AR) Andrea K. Scott, Time Out New York, April 22-29, 1999
\n\u201cArt Form Still in the Process of Exposing Itself.\u201d Mitchell Seidel, The Sunday Star Ledger,
\nMay 16, 1999, p. 7<\/p>\n
1998
\n\u201cThe Guggenheim Sounds the Alarm: It Ain\u2019t Necessarily So.\u201d Sarah Boxer, New York Times, Friday, March 19, p.E37
\nHarper\u2019s Magazine, February, p. 29
\n\u201cEliminating the Distance Between Two Points.\u201d Vicki Goldberg, New York Times, Friday, Nov 17, p. E46.
\n\u201cThe Cultured Tourist.\u201d Leslie Camhi, The Village Voice, November 24, p. 135.
\n\u201cStereotype This.\u201d Jerry Cullum, Frieze, June\/July August 1998,p. 95.
\n\u201cStereotype This.\u201d Jerry Cullum, Artpapers, November\/December 1998, p.16
\n\u201cAndrea Robbins and Max Becher at Vaknin Schwartz.\u201d Jerry Cullum, Art in America, July 1998, p. 101-102
\n\u201cAndrea Robbins and Max Becher at Vaknin Schwartz Gallery, Atlanta.\u201d Rebecca Dimling Cochran
\n\u201cThe Cottingley Fairies and Other Apparitions.\u201d Linda Yablonsky, Time Out New York, February 5-12, p. 44
\n\u201cOf Fairies, Free Spirits and Outright Frauds.\u201d Vicki Goldberg, New York Times, Sunday,
\nFebruary 1, p. 48-49<\/p>\n
1997
\n\u201cThe Lure of the Local: Senses of Place in a Multicentered Society.\u201d Lucy Lippard, p.240
\n(MB) Documents Magazine, Spring 1997, p. 11
\nRoxana Marcoci, Diana Murphy, Eve Sinaiko, New, p.109
\n\u201cAndrea Robbins & Max Becher.\u201d George Baker. Artforum, September 1997, p.126<\/p>\n
1996
\n\u201cAndrea Robbins & Max Becher.\u201d Van de Wall, Mark. Artforum, May 1996, p.104
\n\u201cAndrea Robbins & Max Becher.\u201d The Print Collector\u2019s Newsletter, Vol.27, #1, March-April, p.30
\n\u201cThe Cultured Tourist.\u201d Tonkonow, Leslie. Photography Quarterly, p.4-8
\n\u201cEvery Traveler a Tourist.\u201d Schaffner, Ingrid. Photography Quarterly, p.9-12
\n\u201cThe Exile Brands.\u201d Citizen K , Numero 8, Hiver 95\/96, p.44
\n\u201cAndrea Robbins & Max Becher: \u2018Shrinking People, Exiled Cigars and Galloping Dinosaurs\u2019.
\n\u201cKarmel, Pepe. New York Times, February 2<\/p>\n
1995
\n\u201cVestiges of Utopia, The Duesseldorf School.\u201d Van Winkel, Camiel. Archis, October 1995, p. 65- 80
\n\u201cAndrea Robbins and Max Becher at Basilico Fine Arts.\u201d Mari\u00f1o, Melanie. Art in America,
\nNovember 1995, pg. 112
\n\u201cThe Oregon Vortex.\u201d Robbins, A. & Becher, M. Blindspot, Issue 6, pg. 12-17
\n\u201cChelsea and Soho offer a mix of Art.\u201d Kutner, Janet. The Dallas Morning News,
\nMay 28, 1995, p. 5C, 7C<\/p>\n
1994
\n\u201cLand Ahoy.\u201d Kandel, Susan. Los Angeles Times, November 17, 1994, p. F13
\n\u201cDer Wilde als entmundigtes Wesen.\u201d Dogramaci, Burcu. Welt am Sonntag, September 25, 1994
\n\u201cAndrea Robbins & Max Becher: \u2018Old Tucson \/ Wall Street in Cuba.\u2019\u201d Velder, Katrin. Augenblick,
\nVol. 2, No. 4, April 1994, p. 2<\/p>\n
RESIDENCIES\/AWARDS
\nAlice Award for Solo Exhibition in a Gallery 2012, for \u201cBlack Cowboys\u201d exhibition at Sonnabend Gallery 2010
\nKunstwerk des Monats (Artwork of the Month), Museum fuer Gegenwartskunst Siegen 2012
\nCooper Union President\u2019s Citation for Art, 2011.
\nParticipant in the photographic survey for \u201cModern Archive. The Condition of the Document and the Modern Photographic Utopia.\u201d Museum of Contemporary Art, Barcelona, Spain. 2008-2009
\nGrant recipient as part of \u201cPrintemps de Septembre de Toulouse.\u201d Toulouse, France 2004
\nLeopold Godowsky, Jr. Color Photography Award, 2005
\nGrant recipient Artist-in-Residence, Light Work Foundation, 1995.
\nArtist-in-Residence, The Altos de Chav\u00f3n Cultural Center Foundation, La Romana, Dominican Republic, Summer 1999.<\/p>\n
PUBLIC COLLECTIONS
\nSolomon R. Guggenheim Museum, New York, NY
\nThe Jewish Museum, New York, NY
\nThe New School for Social Research, New York, NY
\nWhitney Museum of American Art, New York, NY
\nFried Frank Collection, New York, NY
\nCollection of Carol and Sol LeWitt, Chester, CT
\nInternational Center for Photography, NY
\nSan Francisco Museum of Modern Art, San Francisco, CA
\nLight Work Permanent Collection, Syracuse, NY
\nThe Marieluise Hessel Collection, Bard College
\nLos Angeles County Museum of Art, Los Angeles, CA
\nMuseum of Contemporary Art, Chicago, IL
\nMuseum of Contemporary Photography, Chicago, IL
\nMuseum f\u00fcr Gegenwartskunst, Siegen, Germany
\nMiami Art Museum, Miami, FL
\nPerez Museum, Miami, FL
\nThe Harn Museum of Art, Gainesville, FL
\nProgressive Corp, Cleveland, OH
\nDie Photographische Sammlung\/SK Stiftung Kultur, Cologne
\nSt. Louis Museum of Art, OH
\nThe Philadelphia Museum of Art, PA
\nCenter for Creative Photography, Tucson, AZ
\nMuseum of Contemporary Art (MACBA), Barcelona, Spain
\nMaison Europ\u00e9enne de la Photographie (MEP), Paris, France
\nMuseum Kunstpalast, Duesseldorf, Germany
\nIleana Sonnabend Collection, New York
\nDroege Group, Duesseldorf, Germany
\nRheingold Collection, Duesseldorf, Germany
\nUniCredit Art Collection
\nSchwartz Art Collection, Boston
\nMetropolitan Bank and Trust Collection, Cleveland, OH<\/p>\n
VIDEOS ONLINE
\nInterview with the Forward re: 770 buildings: https:\/\/www.youtube.com\/watch?v=fC_Z-nXEQVo<\/p>\n
https:\/\/spruethmagers.com\/exhibitions\/andrea-robbins-max-becher-nativist-americans-berlin\/<\/p>\n
Re: Museo Ico Exhibition, Madrid 2016
\nhttps:\/\/www.youtube.com\/watch?v=-bfGkzDXFV8
\nhttps:\/\/youtu.be\/sxRW0sy8ROo?feature=shared<\/p>\n
Re: Black Cowboys at Ute Parduhn Gallery 2007
\nhttps:\/\/youtu.be\/0-d3gdfXhOo?feature=shared<\/p>\n
Re: The Bechers in Ohio, video by Max Becher 1989, presented at Met Museum NYC 2022
\nhttps:\/\/www.youtube.com\/watch?v=cpIDEMpX644<\/p>\n","protected":false},"excerpt":{"rendered":"
ANDREA ROBBINS AND MAX BECHER BIOGRAPHY\/BIBLIOGRAPHY Andrea Robbins Born: 1963, Boston, MA Education: 1989 Hunter College School of Art, New York, NY 1986 Cooper Union School of Art, New York, NY \/ BFA Max Becher Born: 1964, Duesseldorf, Germany Education: 1989 Mason Gross School of the Arts, Rutgers University, New Brunswick, NJ, MFA 1986 Cooper … Continued<\/a><\/p>\n","protected":false},"author":1,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"open","ping_status":"open","template":"","meta":{"footnotes":""},"class_list":["post-579","page","type-page","status-publish","hentry"],"_links":{"self":[{"href":"https:\/\/robbinsbecher.com\/wp_site\/wp-json\/wp\/v2\/pages\/579","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/robbinsbecher.com\/wp_site\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/robbinsbecher.com\/wp_site\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/robbinsbecher.com\/wp_site\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/robbinsbecher.com\/wp_site\/wp-json\/wp\/v2\/comments?post=579"}],"version-history":[{"count":71,"href":"https:\/\/robbinsbecher.com\/wp_site\/wp-json\/wp\/v2\/pages\/579\/revisions"}],"predecessor-version":[{"id":1257,"href":"https:\/\/robbinsbecher.com\/wp_site\/wp-json\/wp\/v2\/pages\/579\/revisions\/1257"}],"wp:attachment":[{"href":"https:\/\/robbinsbecher.com\/wp_site\/wp-json\/wp\/v2\/media?parent=579"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}