Tony Just
 
born 1969, Maryland (US), lives and works in Berlin (DE)

Education

1994
Master of Fine Arts in Painting, Hunter College, New York (US)

1992
Bachelor Fine Arts in Painting, The School of the Institute of Chicago (US)

1990–91
Concentration in Painting, Marangoni Studio, Florence (IT)

1987–88
University of Iowa City (US)

Solo Exhibitions

2012

Sentimental Agitprop, solo show at Sommer and Kohl, Berlin

2011
Paint Noir, Federico Bianchi Contemporary Art, Millan (IT)

2010
Sommer & Kohl, Berlin (DE)

2008
Paris Syndrome, Galerie Maisonneuve, Paris (FR)
The Purest and the Dirtiest, Gavin Brown’s enterprise, New York (US)

2007
Gavin Brown’s enterprise, New York (US)

2004
Gavin Brown’s enterprise, New York (US)

2003
Elizabeth Peyton and Tony Just, New Works on Paper, Orient Historical Society, Orient, NY (US)

Group Exhibitions

2013

BUILDING UTOPIA AND ABSTRACTION at Federico Bianchi Gallery

Volta 9, Basel

2012

Artefiera Art First, Bologna with Federico Bianchi Contemporary Art

Volta 8, Basel

2011
about painting, abc art berlin contemporary, Station-Berlin, Berlin (DE)
We Regret To Inform You There Is Currently No Space Or Place For Abstract Painting, Martos Gallery, New York, NY (US)

2010
Self-consciousness, curated by Hilton Als and Peter Doig, VeneKlasen Werner, Berlin (DE)
The Berlin Box, curated by Friederike Nymphius, Kunsthalle Andratx/CCA, Andratx, Mallorca (ES)

2009
Lost and Found, Sommer & Kohl (DE)
Cave painting, organised by Bob Nickas, PSM, Berlin (DE)

2007
Painting as Fact – Fact as Fiction, organized by Bob Nickas, de Pury & Luxembourg, Zurich (CH), cat.

2006
The Name of the Show Is Not ‘Gay Art Now’, curated by Jack Pierson, Paul Kasmin Gallery, New York (US)

2005
Greater New York 2005, PS1, Long Island City, NY (US)
Walls ‘N Things, Nicole Klagsbrun, New York (US)

2004
North Fork/South Fork, Parrish Art Museum, Southampton, NY (US)
Never Never Landscape, curated by Kirsty Bell, Atle Gerhardsen, Berlin (DE)

2003
Still or Sparkling, John Connelly Presents, New York (US)
Group Show, curated by Clarissa Dalrymple, Grant Selwyn Fine Art, Los Angeles, CA (US)

2000
21st Century Group Show, Gavin Brown’s enterprise, New York, NY (USA)

1999
The Village Disco, Cabinet Gallery, London (UK)
Formulas for Revelation, curated by Michelle Maccarone and Leslie Alexander, the Rotunda Gallery, New York (US)

1998
Yellow, curated by Luke Dowd, his apartment, New York (US)

1997
The New God, curated by John Connelly, Andrea Rosen Gallery, New York (US)

1995
Either / Or, curated by Kenny Shachter, Flamingo East, New York (US)

1994
On Paper, curated by Peter Hristoff and Marian Griffiths, Sculpture Center, New York (US)
Bobily Functions, University of North Carolina, Chapel Hill (US)
Thesis Exhibition, Hunter College, New York (US)

1993
Chamber 1, New York, (US)
Six Americans, Johnson County Art Center, Iowa City, Iowa (US)

1992
BFA Show, School of the Art Institute of Chicago, Chicago (US)

1991
Revelations, Gallery 2, Chicago (US), catalogue with an essay by James Elkins

Bibliography

2010
Markets| Berlin, Artinvestor 03/2010, p. 53
Müller, Dominikus; … dreimal falten, TAZ Berlin, 24 March
Zeitz, Lisa; Endlich vom Eise befreit, Frankfurter Allgemeine Zeitung, p. 40, nr. 67, 20 March

2009
Nickas, Bob; Painting Abstraction: New Elements in Abstract Painting, Phaidon Press

2007
Galleries–Downtown: Tony Just, The New Yorker, 2 April, p. 27
Falconer, Morgan; For the Love: Tony Just, Artreview, March, p. 36

2005
Biesenbach, Klaus, et. Al.; Greater New York, published by MOMA/PS1
Sholis, Brian; Walls’n Things, artforum.com
Cotter, Holland; “Fanciful to Figurative to Wryly Inscrutable, The New York Times, 8 July

2004
Celebrate Trees, Museums New York, Summer 2004, Volume 10#3, cover
photo. Northfork / SouthFork, New Yorker, 5 July, p. 21

1996
Policing Public Sex, essay by Jose Esteban Munoz, edited by Dangerous Bedfellows, South End press
Women & Performance, Queer Acts, essay by Jose Esteban Munoz

1994
Manifestos, Queer Spaces, Storefront for Art & Architecture
Karmel, Pepe; review  “On Paper,” New York Times, 23 December