Dinh Q. Lê
DINH Q. LÊ
b. 1968, Ha-Tien, Vietnam
Lives and works in Ho Chi Minh City, Vietnam
EDUCATION
1992 |
1990-92 MFA,
Photography and Related Media, The School of Visual Arts, New York |
1989 |
1984-89 BA,
Fine Arts, University of California, Santa Barbara |
SOLO EXHIBITIONS
2019 |
Pure Land, Tang Contemporary Art Bangkok, Bankok,
Thailand |
2018 |
True Journey is Return, San Jose Museum of Art, San Jose, CA Dinh Q. Lê: Earthly Delights, Project Fulfill Art Space,
Taipei, Taiwan |
2017 |
Shoshana Wayne Gallery, Santa Monica, CA The Colony, Museum Boijimans Van Beuningen, Rotterdam,
Netherlands |
2016 |
Dinh Q. Lê: Beautiful
Terror, Viking Union Gallery, Western Washington University, Bellingham, WA. Memory for Tomorrow, Hiroshima Museum of Contemporary Art,
Hiroshima, Japan The Colony, Ikon Gallery, Birmingham, United Kingdom The Colony, ArtAngel, Peckham, United Kingdom The Colony, Site Gallery, Sheffield, United Kingdom |
2015 |
Memory for Tomorrow, Mori Museum, Tokyo, Japan |
2014 |
Crossing the Farther Shore, Rice University Art Gallery,
Houston, TX Warp, Woof, Zero, One, P·P·O·W, New York, NY |
2012 |
Erasure, Chancery Lane Art Gallery Projects, Hong Kong China Remnants Ruins,
Civilization, and Empire, Shoshana Wayne Gallery, Santa Monica, CA |
2011 |
Dinh Q Lê: Saigon Diary, University of Buffalo Anderson
Gallery, Buffalo, NY Erasure, Sherman Contemporary Art Foundation, Sydney,
Australia Dinh Q. Lê, Prince Claus Fund Gallery, Amsterdam, Netherlands South China Sea Pishkun, Ikon Gallery, Birmingham, United
Kingdom |
2010 |
Projects 93: The Farmers and the Helicopters, Museum of Modern
Art, New York, NY Dinh Q. Lê, Contemporary Art Centre of South Australia,
Parkside, Australia Signs and Signals from the Periphery, ASU Art Museum, Tempe,
Arizona Elegies, P·P·O·W, New York, New York |
2009 |
Signs and Signals from the Periphery, Elizabeth Leach Gallery,
Portland, OR A Tapestry of Memories: The Art of Dinh Q. Lê, Tufts
University Art Gallery, Medford, MA All that is Solid, City Vision Festival, Mechelen, Belgium |
2008 |
A Quagmire This Time, Shoshana Wayne Gallery, Santa Monica, CA The Penal Colony, P·P·O·W, New York, NY |
2007 |
A Tapestry of Memories, Bellevue Arts Museum, Bellevue, WA Dinh Q. Lê, Elizabeth Leach Gallery, Portland, OR |
2006 |
Dinh Q. Lê, Shoshana Wayne Gallery, Santa Monica, CA Tapestries, P·P·O·W, New York, NY |
2005 |
Vietnam: Destination for the New Millennium, The Art of Dinh
Q. Lê, Asia Society, New York, NY |
2004 |
Photology, Milan, Italy From Vietnam to Hollywood, P·P·O·W, New York, NY. Homecoming, University of California at Santa Barbara Art
Museum, Santa Barbara, CA |
2003 |
Shoshana Wayne Gallery, Santa Monica, CA Elizabeth Leach Gallery, Portland, OR Qua Ben Nuoc Xua (Collaboration with Sue Hadju), Mai Gallery,
Ho Chi Minh City, Vietnam |
2001 |
We are Named, The Center for Photography and Woodstock, NY The Texture of Memory, P·P·O·W, New York, NY Persistence of Memory, Shoshana Wayne Gallery, Santa Monica,
CA |
2000 |
We are Named: Photo-based Works by Dinh Q. Lê and Michael
Rauner, The Museum of Contemporary Art, Denver, CO Persistence of Memory, Elizabeth Leach Gallery, Portland, OR Cambodia: Splendor & Darkness, The Speed Art Museum,
Louisville, KY; Houston Center for Photography, Houston, TX True Voyage is Return, Montgomery Gallery, Pomona College,
Pomona, CA |
1999 |
Lotusland, Shoshana Wayne Gallery, Santa Monica, CA |
1998 |
Splendour and Darkness, P·P·O·W, New York, NY The Headless Buddha, Los Angeles Center for Photographic
Studies, Los Angeles, CA; Elizabeth Leach Gallery, Portland, OR; Cambridge
Multicultural Arts Center, Cambridge, MA; Sesnon Gallery, Porter College,
University of California, Santa Cruz, CA Uncommon Traits, Relocating Asia, Part III, Center for
Exploratory and Perceptual Art, Buffalo, NY |
1992 |
Tyler School of Art Gallery, Elkins Park, PA |
1991 |
Portraying a White God, Los Angeles Contemporary Exhibitions,
Los Angeles, CA |
1990 |
Midtown Y Photography Gallery, New York, NY |
SELECT GROUP EXHIBITIONS
2019 |
Rothko in Lampedusa, Palazzo Querini, Venice, Italy
Dreaming Together:
New York Historical and the Asia Society, New York, NY |
2018 |
Imagined Borders, Gwangju Biennale 2018, Gwangju, South Korea |
2017 |
After Darkness Comes the Light: Art in the Wake of History,
Asia Society Museum, New York, NY The Picture Will Still Exist, Dia Projects, Ho Chi Minh City,
Vietnam Mekong – New Mythologies, The Hong Kong Arts Centre, Hong
Kong, China Sunshower: contemporary Art From Southeast Asia 1980s to Now,
Mori Art Museum, Tokyo, Japan Asian Diva: The Muse and the Monster, SeMA, Bulk-Seoul Museum
of Art, Seoul, South Korea The Family Camera, Art Gallery of Mississauga, Ontario, Canada Rosa’s Wound, Museum of Contemporary Art, Taipei, Taiwan Imaginary Asia, Nam June Paik Art Center, Seoul, South Korea |
2016 |
Crafting the Future, curated by Daniel Peabody, Elizabeth
Leach Gallery, Portland, OR Refugees, Casula Powerhouse Arts Centre, New South Wales,
Australia Woven, curated by John David O’Brien, Sturt Haaga Gallery, La
Canada Flintridge, CA Salon, Shoshana Wayne Gallery, Santa Monica, CA Refugees, Casula Powerhouse Arts Center, New South Wales,
Australia When Things Fall Apart – Critical Voices on the Radars,
Traphoit Museum, Kolding, Denmark Woven, Sturt Haaga gallery, Descanso Gardens, La Canada
Flintridge, CA |
2015 |
Constructed Histories, David B. Smith Gallery, Denver, CO Revolution & Resistance: Responses in Contemporary Print,
Technology and Community Activism, Gund Gallery, Kenyon College, Gambier, OH CHANNELS: Media, Culture, and Representation, Articulture
Biennial Exhibition, The Gallery at Delaware Count Community College, Media,
PA |
2014 |
Transformational Imagemaking: Handmade Photography Since 1960,
CEPA Gallery, Buffalo, NY Post Traditions/New Voices in Asian Art, Emily Lowe Gallery,
Hofstra University, Hempstead, NY Afterimage: Contemporary Photography in Southeast Asia, The
Singapore Art Museum, Singapore The Sensory War, Whitworth Art Gallery at the University of
Manchester, Manchester, United Kingdom |
2013 |
War is for the Living, The Sylvia Wald and Po Kim Art Gallery,
New York, NY 2013 Carnegie International, Carnegie Museum of Art,
Pittsburgh, PA |
2012 |
Power of Doubt, Times Museum, Guangzhou Guangdong, China Six Lines of Flight:
Shifting Geographies in Contemporary Art, SF MOMA San Francisco CA WAR/PHOTOGRAPHY:
Photographs of Armed Conflict and its Aftermath, The Museum of Fine Arts,
Houston, TX; Annenberg Space for Photography, Los Angeles, CA; Corcoran
Gallery of Art, Washington DC; Brooklyn Museum, Brooklyn, NY SVA Alumni Show, New York, NY dOCUMENTA (13), Kassel, Germany |
2011 |
6th Curitiba Biennial, Rio De Janeiro, Brazil Air Hole, National Museum of Art, Osaka, Japan Art in the Auditorium: Elodie Pong, Ergin Cavusoglu, Dinh Q
Le, Whitechapel Gallery, London, UK The Power of Doubt, Museo Colecciones ICO, Madrid, Spain |
2010 |
Busan Biennale: Living in Evolution, Busan, Korea Nanjing Biennale, Jiangsu Provincial Art Museum, Nanjing City,
China Syntax & Diction: Transforming The Everyday, San Art, Ho
Chi Minh City, Vietnam The Tropics: Views from The Middle of The Globe, Jim Thompson
Art Center, Bangkok, Thailand Art Scene Vietnam, ifa Gallery, Stuttgart, Germany Bodies on the Line Colloquium, New York University, New York,
NY The Creative Time Summit: Revolutions in Public, Practice 2,
Cooper Union School of Art, New York, NY AAI’s Art (Inter)Actions Series, Cuchifritos Gallery, New
York, NY Asian and Asian-American Art from the Permanent Collection,
Bronx Museum of the Arts, Bronx, NY Ruptures and Continuities: Photography Made After 1960 from
the MFAH Collection, Museum of Fine Arts, Houston, TX |
2009 |
Fukuoka Asian Art Triennale, Fukuoka, Japan World Selection of Contemporary Art, Biennale Cuveé 09, Linz,
Austria NAM BANG!, Casula Powerhouse, Casula, Australia 55th International Short Film Festival, Oberhausen, Germany All that is Solid, City Vision Festival, Mechelen, Belgium |
2008 |
Cut: Makings of Removal, Vincent Price Art Museum, CA Wonder, Singapore
Biennale 2008, Singapore. The Tropics, Martin
Groupius Bau, Berlin, Germany. Re- Imagining Asia,
House of the World Culture, Berlin, Germany Stretching the Truth,
John Michael Kohler Arts Center, Sheboygan, WI. The Lining of
Forgetting, Weatherspoon Art Museum, Greensboro, NC |
2007 |
TransPop, Arko Art Center, Seoul, Korea; Yerba Buena Center
for the Arts, San Francisco, CA Red Hot: Asian Art Today From the Chaney Family Collection,
The Museum of Fine Arts, Houston, TX The Thermocline of Art- New Asian Waves, ZKM Center for Art
and Media, Karlsruhe, Germany |
2006 |
Altered, Stitched, and Gathered, P.S.1 Contemporary Art
Center, Long Island City, NY Liberation, Saigon Open City, Ho Chi Minh City, Vietnam Another Asia, Noorderlicht Photo Festival, Leeuwarden,
Netherlands Gwangju Biennale, Jungoei Park, Gwangju City, Korea Singapore Biennale 2006, Singapore Asia-Pacific Triennial of Contemporary Art, Queensland Gallery
of Modern Art, Queensland, Australia Infinite Painting- Contemporary Painting and Global Realism,
curated by Francesco Bonami and Sarah Cosulich Canarutto, Villa Manin Centre
for Contemporary Art, Codroipo, Italy |
2005 |
Image War: Contesting Images of Political Conflict, Whitney
Museum of American Art Independent Study Program Exhibition, The Art Gallery
of The Graduate Center, The City University of New York, New York, NY Permanent Vestiges:
Drawings from the American-Vietnam War, Drawing Center, New York, NY Stages of Memory: The
Vietnam War, Museum of Contemporary Photography, Chicago, IL Collection Remixed,
Bronx Museum of the Arts, Bronx, NY Universal Experience:
Art, Life, and the Tourist’s Eye, Museum of Contemporary Art, Chicago, IL |
2004 |
21, P·P·O·W, New York, NY YOUgenics, The School of Art Institute of Chicago, IL Off the Wall, Bruce Museum, CT |
2003 |
Red, Yellow and Blue, The Goethe Institute, Hanoi, Vietnam Dreams and Conflicts: The Dictatorship of the Viewer, Biennale
di Venezia, Venice, Italy Home/land: Artists, Immigration and Identity, Society for
Contemporary Craft, Pittsburgh, PA Commodification of Buddhism, Bronx Museum of the Arts, Bronx,
NY Only Skin Deep, International Center for Photography, New
York, NY |
2002 |
Sugar and Cream, Triple Canopy, New York, NY Crisis Response, RISD Museum of Art, Providence, RI Corpus Christi: Photographic Representations of Christ 1855 - 2002,
Paris, France and Jerusalem, Israel |
2001 |
Diabolical Beauty, Santa Barbara Contemporary Arts Forum, CA The Red Lotus: A Rare Look into the Work of Seven Contemporary
Vietnamese-American Artists, City Gallery Chastain,
Atlanta, GA We Are Named, Center For Photography at Woodstock, Woodstock,
NY Alterations, James Graham & Sons, New York, NY Made in California, Los Angeles County Museum of Art, Los
Angeles, CA Indochina: The Art of War, Luckman Fine Arts Gallery,
California State University, Los Angeles, CA |
2000 |
Beyond Boundaries: Contemporary Photography in California,
California University Art Museum, Long Beach, CA Shifting Perceptions: Contemporary LA Visions, Pacific Asia
Museum, Pasadena, CA Of the Moment: Contemporary Art from the Permanent Collection,
San Francisco Museum of Modern Art, San Francisco, CA California Invitational, Ansel Adams Center for Photography,
San Francisco, CA You Can’t Go Home Again: The Art of Exile, Philadelphia Art
Alliance, Philadelphia, PA ID/Y2K: Identity at the Millennium, curated by Susan M.
Canning Castle Gallery, New Rochelle, NY The Changing Face of Portraiture, Chapman University, Orange,
CA |
1999 |
Pattern, James Graham & Sons, New York, NY Slow Release: The Rich Mix Exhibition, Bishopsgate, Goodyard,
London, England The Emerging Image: Selected Contemporary Photography,
Susquehanna Art Museum, Harrisburg, PA You Can’t Go Home Again: The Art of Exile, curated by Amy I.
Schlegel, Brattleboro Museum & Art Center, Brattleboro, VT |
1998 |
Bioethics: Thresholds of Corporal Completeness, Side Street
Projects, Santa Monica, CA Histories (Re)membered, PaineWeber Art Gallery, New York, NY Fabrications: U.S.
Photography, Schneider Museum of Art, Ashland, Oregon; Vrais Reves
Gallery, Contemporary Photography, Lyons, France; L’Hotel Du Musee, Arles,
France; La Galerie 36, Paris, France; L’Espace Pereisc, Toulon, France; Musee
de L’Elysee, Lausanne, Switzerland; Musee de la Photographie, Charleroi,
Belguim Uncommon Traits III, Center for Exploratory and Perceptual
Art, Buffalo, NY |
1997 |
Points of Entry, The Jewish Museum, New York, NY; Miami Art
Museum, Miami, FL; High Museum of Art, Atlanta, GA; Nexus Contemporary Art
Center, Atlanta, GA; Eastman International Museum of Photography, Rochester,
NY; The Smithsonian Institution, Washington, D.C. |
1996 |
Chambers of Enchantment, Center for Exploratory and Perceptual
Art CEPA, Buffalo, NY A Labor of Love, The New Museum of Contemporary Art, New York,
NY The Present (H)Our: Artists Utilizing Issues of Identity,
Oakland Museum, Oakland, CA Pushing Image Paradigms: Conceptual Maneuvers in Recent
Photography, Portland Institute for Contemporary Art, Portland, OR |
1995 |
Picturing Asia America: Communities, Culture, Difference,
Silver Eye Center for Photography, Pittsburgh, PA; Hunt Gallery, Webster
University, St. Louis, MI Welcome to Asia America: Visualizing A New World, Cambridge
Multicultural Art Center, MA Tracing Cultures, The Friends of Photography, Ansel Adams
Center, San Francisco, CA; Museum of Photographic Arts, San Diego, CA; Center
for Creative Photography, Tuscon, AZ Identity Crisis, Cambridge Multicultural Art Center, MA |
1994 |
Beyond the Borders, Bronx Museum of the Arts, Bronx, NY Picturing Asia America: Communities, Cultures, Difference,
Houston Center for Photography, Houston, TX Barbie and Beyond, Morphos Gallery, San Francisco, CA Retrospective: Awards in the Visual Arts, Ro Snell Gallery,
Santa Barbara, CA Elverhoy Museum, Solvang, CA Betteravia Gallery, Santa Maria, CA Picturing Asia America: Communities, Culture, Difference,
Houston Center for Photography, TX Asian-Americans in the Arts, Tweed Gallery, New York, NY The DuPont Fellowship, The Art Institute of Boston, Boston, MA Rituals: Society Identity/A View From Within, Center for
Exploratory and Perceptual Art, Buffalo, NY |
1993 |
1993 Reflections for Peace,
Mexican-Arte Museum, Austin, TX Three: Works by ‘92-’93 Artists in Residence, Elaine Tin Nyo,
Alexander Ku, and Dinh Lê, Asian-American Arts Centre, New York, NY Interior Dialogues, Montage 1993, Rochester, NY We Count, Tweed Gallery, New York, NY |
1992 |
Here and Now, Now and Then, Longwood Arts Gallery, Bronx
Council on the Arts, Bronx, NY International Textile Exhibition, Kyoto Museum of Art, Kyoto,
Japan Revealing the Self: Portraits by Twelve Contemporary Artists,
Paine Webber Gallery, New York, NY MFA Thesis Exhibition, Visual Art Gallery, New York, NY |
1991 |
Combinations: Dinh Lê and Martina Lopez, The Friends of
Photography, Ansel Adams Center, San Francisco, CA Articulated Disparities: Renegotiating Masculinity, Gallery 1,
San Jose State University, San Jose, CA Director’s Choice: Joanne Hammer, Dinh Lê, Kendall Shaw, and
Athena Tacha, Bernice Steinbaum Gallery, New York, NY Warp and Woof: Comfort and Dissent, Artists Space, New York,
NY |
1990 |
County of Santa Barbara Art Commission, Individual Artist
Award Winners, Channing Peake Gallery, Santa Barbara, CA The Definitive American Contemporary Quilt, Bernice Steinbaum
Gallery, New York, NY Photo Metro #8, Vision Gallery, San Francisco, CA |
HONORS AND AWARDS
2010 |
Visual Art Laureate, Prince Claus Fund, Amsterdam, Netherlands |
2009 |
International Project Grant, Art Matters, New York, NY Artist in Residence, Tokyo Wonder Site Aoyama, Tokyo |
2000 |
Light Work Artist In Residence Program, Syracuse, NY |
1998 |
Public Project Grant, The Gunk Foundation |
1994 |
National Endowment for the Arts, Fellowship in Photography The Du Pont Fellowship, The Art Institute of Boston |
1993 |
Travel Pilot Grant, Arts International and the National
Endowment for the Arts |
1992 |
Artist in Residence, Asian-American Arts Centre, New York, NY Individual Fellowship, Art Matters Inc., New York, NY Individual Photographer’s Fellowship, Aaron Siskind Foundation Matching Grant, Professional Imaging, Eastman Kodak Company Polaroid, 20” x 24” grant, Polaroid Corporation Public Art Project Grant, Creative Time, New York, NY. Full Tuition Scholarship, The School of Visual Arts, New York,
NY |
1990 |
Individual Artist Award, County of Santa Barbara Art
Commission Photo Metro Fine Art Award, San Francisco, CA |
1989 |
Juror’s Award, Santa Barbara Art Association |
PUBLIC PROJECTS
1998 |
Damaged Gene, Ho Chi Minh City, Vietnam |
1995 |
Biography Memorial,
organized by the Bronx Council on the Arts, Woodlawn Cemetery, Bronx, NY Collaboration, (with the Montefiore Family Health Center and
local children), organized by the Bronx Museum of the Arts, the Montefiore
Family Health Center, Bronx, NY |
1992 |
1991-92 Accountability?
Creative Time, citywide poster/postcard project, New York, Los Angeles, and
Washington D.C. |
1991 |
Race, Gender and Sexuality, poster project organized by
Painted Bride Gallery, PA |
COLLECTIONS
|
Asia Society, New York, NY The Museum of Modern Art The Israel Museum The Hammer Museum The Fukuoka Asian Art Museum Portland Art Museum Currier Museum of Art The San Francisco Museum of Modern Art The Los Angeles County Museum of Art The Speed Art Museum The Ford Foundation The Norton Family Foundation The Bronx Museum Asia Society Texas Ackland Art Museum Queensland Gallery of Modern Art UC Santa Barbara Art Museum Goldman Sachs & Co. JP Morgan Chase General Mills Herbert F. Johnson Museum of Art, Cornell University Carnegie Museum of Art Private Collections |
SELECT BIBLIOGRAPHY
2017 |
Hirsch, Robert. Seizing the Light A Social & Aesthetic
History of Photography. New York: Taylor& Francis. |
2016 |
Meurer,Joyce. Art At Work The JPMorgan Chase Art Collection.
New York JPMorgan Chase & Co. “Bird dung a metaphor for resource envy and greed at the
Void,” Londonderry Sentinel, May 11 Dama, Francesco. “Visually Mining the History of Guano Off the
Coast of Peru,” Hyperallergic, March 28. “Dinh Q. Lê: The Colony at Site Gallery,” Anti-Utopias,
September 3. Helmke, Juliet. “Christoph Wiesner on Paris Photo 2016,”
Artinfo, November 8. Mai, C.A. Xuan. “The Colony: Vietnamese artist Dinh Q. Lê at
Artangel, London,” Art Radar, September 21. “Photography under all its avatars in Paris photo,” Le Point
Culture, November 10. Searle, Adrian. “Dinh Q. Lê: The Colony Review – a messy
meditation on the Pacific guano trade,” The Guardian, February 2. Schultz, Abby. “Welcome to the Brave New World of Media Art,”
Barron’s, June 30. Young, Graham. “Ikon Gallery launches exhibition about bird
poop,” Birmingham Mail, January 28. “The Colony by Dinh Q. Lê in London,” Fundació Han Nefkens,
September 23. Trujillo, Natalie. “Paris Photo: the countdown begins,” Le
Monde de la Photo, November 10. “Why photography is buoyant – and the artists on the rise,”
Christie’s, November 10. |
2014 |
Levia, Kim. “Reviews: New York – Dinh Q. Le”, ArtNEWS, Summer
2014. Adams, Rachel,”Review: Dinh Q. Le at Rice University Art
Gallery”, Modern Painters, September 2014. Rao, Mallika, “The Life Of The World Trade Center, In Four
Powerful Images”, The Huffington Post, June 3, 2014 Young, Allison, “Review: Dinh Q. Le”, Artforum, May 2014. Heinrich, Will, “’Dinh Q. Le: Warp, Woof, Zero, One’ at P.P.O.W”,
NY Observer Gallerist, May 7, 2014. Glentzer, Molly, “Narrative of Vietnam finds voice in photos”,
Houston Chronicle, April 18, 2014. |
2013 |
Smith, Roberta, “Global Extravaganza, but on a Human Scale:
The Carnegie International Keeps Its Survey Small”, The New York Times,
October 10, 2013. Butt, Zoe, “Dinh Q. Lê in conversation with Zoe Butt”,
Guggenheim Blog, January 22, 2013. Luong, Ruben, “Where I Work: Dinh Q. Le”, Art Asia Pacific |
2012 |
Tucker, Anne Wilkes, Will Michels, Natalie Zelt.
WAR/PHOTOGRAPHY: Images of Armed Conflict and Its Aftermath. The Museum of
Fine Arts, Houston. Yale University Press, New Haven: 2012. (reproduction p.
546). The Book of Books, Catalog 1-3, Hatje Cantz Ollman, Leah. Critic’s Choice, “Review: Dinh Q. Le’s woven
imagery connects cultures”. Los Angeles Times: Art and Culture. 21 June,
2012. Vary, Renee, Burden of Proof: National Identity and the Legacy
of War, Oglethorpe University Museum of Art, August 22, 2012. 10 Chancery Lane Gallery Exhibition Announcement, “Erasure”,
30 July 2012. |
2011 |
Harvey, Nicola, “Dinh Q. Lê”, Frieze Magazine, September 9. Larking, Matthew. “Conceptualizing old Ideas into ‘New’ Art”,
The Japan Times, April 1, 2011. Landi, Ann. “History in the Making” ARTnews, April, 2011. |
2010 |
Cotter, Holland. “Vietnamese Voices Against a Whir of War,”
The New York Times, August 12, 2010, Weekend Arts, pg 21, 24. Allen, Emma. “Helicopters from Vietnam: A Q&A with Dinh Q.
Lê,” Artinfo.com, June 29. LaBelle, Charles. “4th Fukuoka Asian Art Triennale,” Artforum,
January 2010. Truong, Hong-An, “Dinh Q. Lê at P.P.O.W,” IDIOM, February
16,2010. “Goings On About Town:
Projects 93: Dinh Q. Lê,” The New Yorker, August 2, 2010. Frieze, Issue. 132. June, July, August 2010. p. 40. Dougherty, Linda J. “Dinh Q. Lê,” North Caroline Muesum of
Art” Handbook of the Collections. 2010.p. 592-593. Cotter, Holland. “Vietnamese Voices Against a Whir of War,”
The New York Times. August 13, 2010. p. C21 continues to C24. Bovee, Katherine. “Dinh Q. Lê,” Art Papers. p. 61. Transparency. April 2010. p. 8. Artforum. XLVIII, No.10. Summer 2010. Advert. |
2009 |
Tinari, Philip, "2008 Gwangju Biennale, Singapore
Biennale 2008, 3rd Yokohama Triennale,"Artforum, January 2009. |
2008 |
Knight, Christopher, “Dinh Q. Lê at Shoshana Wayne Gallery,”
LA Times, October 3, 2003. The Lining of Forgetting: Internal & External Memory in
Art. Catalogue for Weatherspoon Art Museum. February 2008. pg. 40 – 43. Cheng, Scarlet, “Pacific Overtures,” Art Ltd. Sept/Oct. Dinh Q. Lê” The New Yorker, Galleries – Chelsea Review, May
26. Wolff, Rachel, “Dinh. Q. Lê: PPOW,“ ARTnews. Summer 2008. |
2007 |
Tran, Thanh, “Weaving Memories,” Asian Weekly. October 6,
2007. Vinh, Tan. “Vietnamese artworks offer a personal view-and way
to view- the war,” The Seattle Times. October 5, 2007. Scheinman, Pamela. “Altered, Stitched, and Gathered,”
Fiberarts. April/May, 2007. p. 52-53. Dougherty, Linda. “New Contemporary Acquisition Explores
Conflicting Memories of Vietnam War,” Preview. January/February 2007. p.8-9 |
2006 |
Fever Variations. Catalogue for Gwangju Biennale 2006. p.
48-49. Fyfe, Joe. “Dinh Q. Lê at the Asia Society and PPOW,” Art in
America. May 2006. p.194. Sand, Olivia, “Dinh Q. Lê,” Asian Art News. March 2006. p.
2-5. |
2005 |
The Human Touch: Selections from the RBC Rauscher Art
Collection. RBC Dain Rauscher, 2005. Camhi, Leslie, “After the Fall,” The Village Voice, December
9, 2005. Schwendener, Martha. “Persistent Vestiges: Drawing from the
American-Vietnam War,” Time Out New York. Issue 531. December 1-7, 2005. Vietnam: Destination for the New Millennium, The Art of Dinh
Q. Lê. Asia Society, 2005. Cotter, Holland, “Two Sides’ Viewpoints On the War in
Vietnam,” The New York Times, December 9, 2005. Searle, Adrian, “Holidays in Hell,” The Guardian, October 11,
2004. Johnson, Ken, “Images of Vietnamese in the Generation Since
the War,” The New York Times, October 7, 2005. Aletti, Vince, Review, The New Yorker, October 3, 2005.
Critic’s Notebook. Chang, Alexandra, “Home vs. Global Society,” amNew York,
September 30-October 2, 2005. Wilson, Michael, Universal Experience: Art, Life, and the
‘Tourist’s Eye, Artforum, p 69 |
2004 |
Aletti, Vince, Review, The Village Voice, April 14 – 20, 2004 Voices Choices Review, The New Yorker, April 12, 2004. p. 15. |
2003 |
Dinh Q. Lê: From Vietnam to Hollywood. Marquand Books, 2003. Spalding, David. “Weaving History: An Interview with Dinh Q.
Le,” Art AsiaPacific. no. 38. p. 68-70. Dreams and Conflicts: The
Dictatorship of the Viewer, catalogue for the Biennale di Venezia, 2003. Fresh Talk, Daring Gazes: Conversations on Asian American Art,
University of California Press. 2003. Art Journal, Spring issue, pg 76-79 (reproductions of “The
Texture of Memory” series). |
2002 |
Evans, Susan E. “We Are Named” Photography Quartlerly (#83),
Center for Photography at Woodstock, p 4-8 (essay, reproduction of Untitled
1998). Hesse, Gary. “Let Us Build a City and Make for Ourselves a
Name” Photography Quarterly (#83), Center for Photography at Woodstock, p. 9
– 12.. |
2001 |
“The Light Work Annual 2001”, Contact Sheet Number 112, Light
Work, Syracuse NY. Catalogue: “The Red Lotus”, Gallery Chastain, Atlanta GA,
2001. “New Exhibits Featured At Center For Photography at Woodstock”
Antiques and The Arts Weekly November 2, 2001. “Critical Thinking” Woodstock Times, Dec 6, 2001. McGee, Cecelia. Review,
Daily News, June 2. p. 23. Aletti, Vince. Review,
Village Voice, June 5. Catalogue, “Indochina: The Art of War”, Luckman Fine Arts
Gallery, Los Angeles, CA. Pagel, David. “Indochina:
The ‘Art of War’ Exhibition Misfires”, Los Angeles Times, April 25, p. F4. Bonetti, David. “Trendy
Currents at SFMOMA”, San Francisco Examiner, July 7. p. C14. Ohmann, Leah. Review (Shoshana Wayne Gallery), Art in America,
February. Pagel, David.
“Identity-based Work Looks Dated in ‘Shifting Perceptions’”, Los
Angeles Times, May 22. |
1999 |
Ise, Claudine. “Pieces
of History” review, The Los Angeles Times, May 28, p. F25. Johnson, Ken. “Pattern
at James Graham & Sons, The New York Times, July 17. Miller, Keith. Dinh Q.
Lê: Splendor and Darkness”, Art Papers, March/April. p. 52. Smith, Robert F. Review, “You Can’t Go Home Again: Art in
Exile” Brattleboro Museum, Art New England, October/November, p. 46. Svetvilas, Chanika. “The Art of War,” Dialogue, Spring/Summer,
pp.23-28. Schwabsky, Barry.
Review, Artforum, February, p. 98-99. |
1998 |
Aletti, Vince. “Voice
Choice,” The Village Voice, December 8. Ise, Claudine. “
‘Headless Buddha’ Weaves History, Myth,” Los Angeles Times, Mar 6. Johnson, Ken. Dinh Q.
Lê, The New York Times, December 11. Ehmke, Ronald. “Neither
This Nor That,” Afterimage, July/August. Row, D.K. “Conflicting
cultures, selves,” The Oregonian, April 3. Miles, Christopher.
“Dinh Q. Lê at the Los Angeles Center for Photographic Studies,”
Artweek, April. Chattopadhyay, Collette. “Dinh Q. Lê at the Los Angeles Center
for Photographic Studies,” Asian Art News, March/April. |
1996 |
Edmunds, Kristy.
Pushing Image Paradigms: Conceptual Maneuvers in Recent Photography,
catalog, Portland Institute of Contemporary Art. Tucker, Marcia. A Labor
of Love, catalog, The New Museum of Contemporary Art. |
1995 |
Grundberg, Andy, Rebecca Solnit, and Ronald Takaki. Tracing Cultures, catalog, The Friends of
Photography, San Francisco. |
1994 |
McQuaid, Cate. “For
Christ’s Sake,” Boston Phoenix, March 3. Silver, Joanne. “East
and West Woven into Art,” Boston Herald, February 16. |
1992 |
Atkins, Robert. “Scene
and Heard,” The Village Voice, December 8. Glenn, Jeff.
“Integrating Image and Structure,” FiberArts, Vol. 18, No. 5, March. Lipson, Karen. “An
Angry Voice from Vietnam,” New York Newsday, December 8. Kano, Kouichi. 3rd
International Textile Competition, Kyoto, catalog, Kyoto Museum of Art,
Kyoto, Japan |
1991 |
1991 Aletti,
Vince. “Playing God,” The Village
Voice, April 23. Avery, Virginia and Moira Roth. The Definitive Contemporary
American Quilt, catalog, Bernice Steinbaum Gallery, New York. Butler, Connie. Warp
and Woof: Comfort and Dissent, catalog, Artists Space, NY. Hoffman, Monika.
“Independent Visions,” The Independent, February 14. Kelley, Jeff. “Weavings
of Time and Memory,” Artweek, April 18. Wright, David H. “They
don’t let reality f-stop them,” The Daily Californian, April 26. Heimerdinger, Debra. “Combinations,”
re view, Newsletter of the Friends of Photography, March/April. Medlin, Kayoko. “News
from California,” Asahi Camera, Tokyo, Japan, February. |
1990 |
1990 Aletti,
Vince. “Choice Column,” The Village
Voice, May 22. Slesin, Suzanne.
“Quilts That Warm in New Ways,” New York Times, December 6. Spencer, Russ. “Visions
from the Independents,” Santa Barbara Newspress, November. |