Chris Reitz
Profile
Chris Reitz is Director and Chair of the University of Louisville’s Hite Institute of Art + Design, where he also serves as Associate Professor of Critical and Curatorial Studies. His research focuses on Euro-American art and exhibitions of the 20th century, with a particular emphasis on art of the 1980s and 1990s.
His first book, Martin Kippenberger: Everything is Everywhere, was published with MIT Press in 2023. His recent writing has appeared in nonsite, October, Texte zur Kunst, N+1, The White Review, Paper Monument, The Baffler, and Martin Kippenberger’s Catalogue Raisonné of the Paintings, Volume III.
Professor Reitz serves as the Hite Institute of Art + Design’s primary curator, and in that capacity has organized solo and two-person exhibitions for Judy Chicago, Sanford Biggers, Sislej Xhafa, For Freedoms, Peter Williams, Alma Lesch and Elsa Oldham in addition to the group exhibitions Painting in the Network, Algorithm and Appropriation and Conspiratorial Aesthetics, among others.
Chris Reitz is also the chair of Louisville’s Commission on Public Art and was appointed to the mayor’s commission tasked with making recommendations concerning Louisville’s contested monuments. For his work in service to the community, he received the University President’s Distinguished Faculty award in 2018.
Selected Publications
Martin Kippenberger: Everything is Everywhere, MIT Press, 2023.
“Do Not Send Home,” Martin Kippenberger: Catalogue Raissoné of the Paintings, Volume 2 (Cologne: Walther König, 2023). English and German.
“David Zwirner Gallery,” “Marian Goodman Gallery,” and “Metro Pictures,” Johannes Nathan ed. Bloomsbury Art Markets (Bloomsbury, 2023).
“Supernatural America,” Humanities vol 43, issue 1 (NEH/Smithsonian: Winter, 2022) (state of the field exhibition review).
“Maurizio Cattelan’s Managerial Spirit,” nonsite 37 (Emory University: December 2021).
“Learning from Louisville: John Breckenridge Castleman, His Statue, and a Public Sphere Revisited,” Teachable Monuments (Bloomsbury: 2021. Paperback 2022).
“In Celebration of Owning Things,” Texte zur Kunst, issue 118 (June, 2020). English and German, 76-87. Reprinted in Dutch as “Lang leve eigendom,” De Witte Raaf, issue 209 (Jan-Feb 2021), 1–2.
“The Algorithm and Painting Semi-skilled. Notes for an Exhibition,” The Journal of Contemporary Painting Vol. 5, Issue 1 (special issue on Yves-Alain Bois) (London: Intellect, 2019), 177–194.
“Should’ve Been a Cowboy,” TANK Magazine. Issue 78 (Feb 2019), 169–179.
“If You’ve Got the Money,” The Baffler No. 24 (November-December 2018), 128–133.
Contributor, As Radical, As Mother, As Salad, As Shelter: What Should Art Institutions Do Now? (New York: Paper Monument, 2018) 85–89.
Respondent, “A Questionnaire on Monuments,” October 165 (MIT Press, Summer 2018), 139–141.
“Interview with Hal Foster,” The White Review (Issue 14, July 2015), 85–95.
“Five Jobs in Reading,” City by City: Dispatches from the American Metropolis (New York: N+1/Farrar, Straus and Giroux, 2015), 248-254. Originally printed as “Five Jobs in Reading,” N+1. “My Life and Times.” (Online: December 10, 2012).
“Alban’s Grin,” Alban Muja; I never knew how to explain… (Galerija Škuc: Ljubljana, 2014), 97–111. Originally printed in “Alban’s Grin,” Alban Muja; It’s All About Names (Museum of Ljubljana: Ljubljana, 2011). English, Slovenian, Albanian.
“Still One of Us? Isabelle Graw asks Julia Gelshorn, Sebastian Egenhofer, Fiona McGovern, and Chris Reitz about the Current Reception of Martin Kippenberger.” Texte zur Kunst 90 (June 2013), 175–179. English and German.
“Santiago Sierra,” Nobody’s Property: Art, Land, Space, 2000–2010 (New Haven: Yale University Press, 2010), 134–139.