Constance DeJong
b. 1950, Cleveland, OH Lives and works in New York, NY
SELECTED EXHIBITIONS
| 2024 | Selected printed matter and videos, Solo Exhibition, Kunstverein München (Archive Room), Munich, Germany |
| 2023 | On a Continuous Present, Solo Exhibition, Chelsea Space, London, United Kingdom |
| Future Shock, Lisson Gallery, New York, NY | |
| Uncertain Codes, organized by Julien Bismuth, Gary R. Libby University Gallery, University of Florida, Gainesville, FL | |
| 2022 | Polymorphose, Bureau, New York, NY (Solo) |
| 2021 | Constance DeJong: A survey exhibition, Bertha and Karl Leubsdorf Gallery, Hunter College, New York, NY (Solo) |
| Until tomorrow: Ten Years of Bureau, Bureau, New York, NY | |
| 2018 | Let me consider it from here, curated by Solveig Øvstebø, The Renaissance Society, Chicago, IL |
| Hours and Places, Wojciech Bąkowski, Erica Baum, Constance DeJong, Bureau, New York, NY | |
| Stories: Constance DeJong & Philip-Lorca diCorcia, McEvoy Foundation for the Arts, San Francisco, CA | |
| 2017 | I Can’t Tell You Because I Can’t Tell You, curated by Gabriela Vainsencher, 601 Artspace, New York, NY |
| CD SM KSS, Constance DeJong, Sarah McMenimen, Kate Spencer Stewart, Redling Fine Art, Los Angles, CA | |
| LISTEN: IT’S A SOUND SHOW, curated by Molly Mac, Equinox Studios, Seattle, WA | |
| Anne Turyn: Top Stories Archive & Selected Flashbulb Memories, 1978-1991, curated by Maika Pollack, SOUTHFIRST, Brooklyn, NY | |
| 2016 | Back in Time with Time-Based Works: Artists’ Books at Franklin Furnace, 1976– 1980, The Museum of Modern Art, New York, NY |
| Listen, curated by Molly Mac and Emily Pothast, Blackbox 3.0, Equinox Studios, Seattle, WA | |
| Next Wave Art Reading Room, curated by Rachel Valinsky; Wendy’s Subway in conjunction with Brooklyn Academy of Music, New York, NY | |
| Cold Open Verse, Poet Transmit in conjunction with Blonde Art Books, The Knockdown Center, Queens, NY | |
| I Wasn’t Just Saying What You Wanted To Hear, curated by Molly Mac, Alice Gallery, Seattle, WA | |
| Liberia Gallery, Bogota, Colombia | |
| 2015 | Day Moon, curated by Jodie Vicenta Jacobson, Halsey Mckay Gallery, East Hampton, NY |
| 2013 | Desire, Yancey Richardson Gallery, New York, NY |
| 1989 | Collected and Performance Work, Real Art Ways, Hartford, CT |
SELECTED PERFORMANCES
| 2024 | Modern Love, Kunsthalle Winterthur, Winterthur, Switzerland |
| It's Always Night, Kunstverein München, Munich, Germany | |
| It's Always Night, Circulating Copies, Kunstverein für die Rheinland, Düsseldorf, Germany | |
| 2018 | Candle Night Radios Insomnia, The Renaissance Society, Chicago, IL |
| for Adult Contemporary, Hauser & Wirth, New York, NY | |
| for Montez Press Radio, Printed Matter's New York Art Book Fair, MoMA PS1, New York, NY | |
| Cellar Series, Ugly Duckling Presse, Brooklyn, NY | |
| Census-Takers of the Sky, Triple Canopy, New York, NY | |
| Bureau, New York, NY | |
| Relatives, Constance DeJong & Tony Oursler, The Kitchen, New York, NY | |
| 2017 | Abrons Arts Center, New York, NY |
| Artists Space, New York, NY | |
| 601Artspace, New York, NY | |
| Modern Love, The Kitchen, New York, NY | |
| Les Bijoux Indiscrets, or, Paper Tigers, by Sophie Seita, LaMaMa Galleria, New York, NY | |
| SOUTHFIRST, Brooklyn, NY | |
| 2016 | Live broadcast with Constance DeJong, Sophia La Fraga, and Ian Hatcher, Cold Open Verse, Poet Transmit in conjunction with Blonde Art Books, The Knockdown Center, Queens, NY |
| Next Wave Art Reading Room, curated by Rachel Valinsky, Wendy’s Subway in conjunction with Brooklyn Academy of Music, Brooklyn, NY | |
| Segue Foundation Reading Series, Zinc Bar, New York, NY | |
| 2013 | Speakchamber, Bureau, New York, NY |
| 2007 | Wexner Center for the Arts, The Ohio State University, Columbus, OH |
| 2004 | Collaboration with Tony Oursler, Off-Off Center, Rockland Center for the Arts, West Nyack, NY |
| 2003 | Robert Beck Theater, curated by Marie Losier, New York, NY |
| 2002 | The Nelson Atkins Art Museum, Kansas City, MO |
| 2001 | Scry Agency, Thread Waxing Space, New York, NY |
| Philadelphia Museum of Art, Philadelphia, PA | |
| Contemporary Arts Museum Houston and Aurora Picture Show, Houston, TX | |
| 1997 | Pink, in collaboration with Stephen Vitiello, Whitney Biennial, Whitney Museum of American Art New York, NY; Hamburger Bahnhoff Museum, Berlin, Germany |
| Fantastic Prayers, in collaboration with Tony Oursler and Stephen Vitiello, Philadelphia Museum of Art, Philadelphia, PA; Film + Arc International Festival of Films, Graz, Austria Navigational performance, Cyber Cafe, Moderna Museum, Ljublijana, Slovenia Moore College Theater, Philadelphia, PA | |
| 1995 | Fantastic Prayers, in collaboration with Tony Oursler and Stephen Vitiello, Galerija SOU – Kapellica, Ljublijana, Slovenia |
| 1994 | The Jacket, in conjunction with Empty Dress: Clothing as Surrogate in Recent Art, Neuberger Museum of Art, Purchase, NY |
| Articles of Faith, Isabella Stewart Gardner Museum, Boston, MA | |
| 1991 | New Langton Arts, San Franciso, CA |
| 1990 | HallsWalls, Buffalo, NY |
| Vanishing Acts, The Whitney Museum at Philip Morris, New York, NY | |
| ARS Electronica Festival, Graz, Austria | |
| Relatives, in collaboration with Tony Oursler, Institute of Contemporary Art, Boston, MA | |
| 1989 | Relatives, in collaboration with Tony Oursler, Whitney Biennial, Whitney Museum of American Art, New York, NY |
| Fourth Video Bienale, Cankarjev Dom, Ljubljana, Slovenia | |
| Video Theater: Regional, in conjunction with the exhibition Collected and Performance Work, Real Art Ways, Hartford, CT | |
| Sensing the City, Seattle Art Museum, Seattle, WA | |
| World Wide Video Festival, Den Haag, Netherlands | |
| 1988 | ARS Electronica Festival, Graz, Austria |
| Relatives, in collaboration with Tony Oursler, The Kitchen, New York, NY; TheBinational, Kunstmuseum, Dusseldorf; Western Front, Vancouver, Canada | |
| 1983 | Twice-Told Tales, Hallswalls Contemporary Art Center, Buffalo, NY |
| 1979 | L.A. Stories, in collaboration with Philip Glass, The Kitchen, New York, NY |
| 1977 | Modern Love, The Kitchen, New York, NY; Beyond Baroque, Los Angeles, CA; 80 Langton Street; San Franciso, CA; 911 Seattle, Seattle, WA; Western Front, Vancouver, Canada; The Women’s Alliance, London, England; Centre Culturel Du Marais, Paris, France |
SELECTED PROJECTS
| 2016 | On-screen performance in Tony Oursler: Imponderable, Museum of Modern Art, New York, NY |
| 2015 | On-screen performance for Imponderable: The Archives of Tony Oursler, Parc des Ateliers, Arles France; LUMA Westbau, Zurich, Switzerland; Center for Curatorial Studies, Bard College, Annandale-on-Hudson, New York |
| 2014 | Rachel Feinstein’s The Last Days of Folly, in collaboration with Tony Oursler, Madison Square Park Conservancy, New York, NY Performer for Tony Oursler / Vox Vernacular, South Court Auditorium, New York Public Library, New York, NY |
| 2008 | Nuit Blanche, in collaboration with Tony Oursler and Tony Conrad, Gare du Nord, Paris, France |
| 2007 | Text for SUPER VISION, with The Builders Association/dbox, Hopkins Center, Dartmouth College, ME |
| 2006 | Blue Invasion, in collaboration with Tony Oursler, Sydney Festival, Australia |
| Text for SUPER VISION, with The Builders Association/dbox; Perth International Arts Festival, Australia; New Zealand International Arts Festival, Wellington; Liverpool; European Capital of Culture, United Kingdom; Tramway, Glasgow, United Kingdom; ZeroOne, San Jose, CA; Yerba Buena Center for the Arts, San Francisco, CA; Krannert Center, University of Champaign-Urbana, IL; MCA Chicago, IL, UC Davis, CA; RedCat, Los Angeles, CA | |
| 2005 | Text for SUPER VISION, with The Builders Association/dbox; Walker Art Center, Minneapolis,MN; Wexner Center for the Arts, Columbus, OH; On the Boards, Seattle, WA; BAm Next Wave Festival 05, New York, NY: Montclair State University, NJ |
| 2003 | The Place, Le Plaiv district, Switzerland; produced by Walter A. Bechtler Foundation for Public Art, University of Art & Design, Zurich, Switzerland |
| 2001 | Digital H@ppy Hour, The Kitchen, New York, NY |
| 2000 | Speaking of the River, commissioned by Minetta Brook Hudson River, Madame Brett Park, Beacon NY, (permanent installation); commissioned by Public Art Trust, Thames River, Canary Wharf, London, commissioned by Public Art Trust (permanent installation) |
| Electra Chair, Spot, Walls that Speak, Writer’s Block, Pillow Talk, Edward Hopper House Art Center, Nyack, NY; Hunter College Gallery, New York, NY; Pandemonium Festival, London, England, edition produced by Cypher Editions, New York | |
| 1997 | Rushmore Music Festival, New York, NY |
| 1996 | Fantastic Prayers, Constance DeJong, Tony Oursler, Stephan Vitiello, web project, Dia Center for the Arts and Prop Foundation, New York, NY; Philadelphia Museum of Art, Philadelphia, PA |
| 1992 | Duets for Animals & People, Woodland Park Zoological Gardens, Art in Public Places, Seattle, WA (permanent installation) |
| 1991 | Vanishing Act, spoken text with sound by Brenda Hutchinson, Tellus #25, Site-Less Sounds, (CD) |
| 1989 | Ally, Messages to the Public, Times Square, The Public Art Fund, New York, NY |
| 1979 | Libretto for Philip Glass: Satyagraha |
| 1977 | Radio Adaptaion of Modern Love, ZBS Studios |
PUBLICATIONS
| 2019 | Tony Conrad Writings, Edited by Constance DeJong and Andrew Lampert, Primary Information,New York |
| 2018 | “On Loose Connection”, In Introducing Tony Conrad: A Retrospective, Koenig Books Nightwriters, Triple Canopy, New York |
| 2017 | Modern Love, Ugly Duckling Presse and Primary Information, New York |
| 2013 | Speakchamber, Bureau, New York |
| 2006 | The Early Show: Video From 1969-79, Hunter College Art Galleries, New York |
| 1986 | “Twice Told Tale,” in Five, Top Stories #23-24, New York |
| 1983 | Constance DeJong, I.T.I.L.O.E., Top Stories #15, Txt Books |
| 1981 | “In Between the Dark and the Light (Television/Society/Art: A Symposium)” in, Artforum Vol 19 |
| 1980 | Satyagraha, M.K. Gandhi in South Africa, 1893-1914: The Historical Material and Libretto Comprising (New York: Standard Editions, 1980). |
| 1978 | The Lucy Amarillo Stories, Standard Editions, New York |
| 1976 | Modern Love, Standard Press (1976-77) The Complete Works of Constance DeJong, Vols 1 -5, TVRT, New York (1975-76) “Science, Chapter 1” in Renegade #2, 65-86 |
CATALOGUES
| 2019 | Let me consider it from here, edited by Solveig Øvstebø, The Renaissance Society, Chicago |
| 2010 | Tony Oursler: Lock 2, 4, 6, edited by Rudolg Sagmeister, Kunsthaus Bregenz, Bregenz |
| 2006 | The Early Show: Video from 1969-1979, Bertha and Karl Leubsdorf Art Gallery, Hunter College, March 16-May 6, 2006 curated by Constance De Jong, Hunter College, New York |
| 2002 | Watershed: The Hudson Valley Art Project, edited by Miwon Kwon, Minetta Brook, New York |
| 2000 | Speaking of the River: A New Audio Work by Constance De Jong for Benches Along the River, Public Art Development Trust, London |
| 1994 | The Eye of the Beholder, edited by Jill Medvedow, Isabella Stewart Gardner Museum, Boston |
ANTHOLOGIES
| 2006 | Up is Up, But So is Down: Downtown Literary Scene, NYU Press |
| 1987 | Blasted Allegories, New Museum/MIT |
| 1985 | Wild History, Tanam Press |
| 1983 | Top Top Stories, City Lights |
SELECTED PRESS
| 2023 | William Corwin, 'Wet Conceptualism,' The Brooklyn Rail, February 1 |
| 2022 | Anthony Hawley, ‘Constance DeJong,’ Artforum, January, p. 132 - 133 |
| 2020 | Anna Tome, ‘20 Best Art Books of 2020: Constance DeJong,’ The Brooklyn Rail, December 26 |
| 2018 | Constance DeJong as told to Lauren O’Neill-Butler, 'Interviews,' Artforum, December 26 |
| Joshua Barone, ‘Two Ways of Looking at Philip Glass’s ‘Satyagraha’,’ The New York Times, November 5 | |
| John Cappetta, ‘Hours and Places,’ The Brooklyn Rail, May 1 | |
| Jerry Saltz, ‘Twenty-five things to see, hear, watch, and read,’ New York Magazine, April 29 | |
| Amelia Bande in Conversation with Constance DeJong, Movement Research, April 24 | |
| Mira Dayal, ‘All In The Family,’ Artforum.com, April 9 | |
| Rachel Valinsky, 'Constance DeJong and Tony Oursler on Relatives,' The Kitchen Blog, March | |
| 2017 | Jennifer Krasinski, ‘The Year in Art Was All in the Details,’ Village Voice, December |
| ‘Ephemeralism, Sequentiality, and Writing By Hand: Emma Clayton in Conversation with Constance DeJong,’ Ugly Duckling Presse Blog, November | |
| Dan Piepenbring, ‘Staff Picks: Conduits, Cockroaches, Colored Paper,’ The Paris Review, April | |
| ‘The History & Reissue of Constance DeJong’s Modern Love,’ Harriet Poetry Blog, Poetry Foundation, March 30 | |
| ‘Artists in Conversation: Constance DeJong by Jennifer Krasinski,’ BOMB Magazine, Daily Postings, April 3 | |
| 2013 | Lauren O'Neill-Butler, 'Constance DeJong,' Artforum, September Claire Barliant, 'Object of the Week: Constance DeJong's Buddha Statue,' whatsthiscatsstory.tumblr.com, May |
| 2011 | James R. Oestereich, ‘Operatic Pageantry With Gandhi, Dr. King and a Message of Paci sm: ‘Satayagraha,’ by Philip Glass, at Met Opera - Review,’ The New York Times, November 6 |
| 2006 | Mark Swed, ‘The Unblinking Eye of Technology,’ Los Angeles Times, December 8 |
| Holland Cotter, ‘Art in Review; The Early Show — Video From 1969-1979,’ The New York Times, April 28 | |
| 2005 | ‘Review: SUPER VISION,’ at BAM, The New York Times, November |
| Terry Teachout, ‘SUPER VISION,’* Wall Street Journal*, December | |
| ‘Review: SuperVision,’ at BAM, NYTheater.com, November | |
| ‘SUPER VISION,’ The Columbus Dispatch, November | |
| ‘Review of SuperVision,’ Minneapolis Journal News, October | |
| 2004 | ‘Best of Beacon,’ Beacon Dispatch |
| 2002 | Carlo McCormic, ‘Constance Dejong in Watershed (Hudson River Art Projects’ Minetta Brook Publisher |
| Michael Govan, ‘Fantastic Prayers,’Rhizome.com | |
| 2000 | Photo essay of opening for ‘Speaking of The River at Canary Wharf, Thames River, London,’ Frieze |
| 1998 | Sarah Thomas, ‘Speaking of The River at Canary Wharf, Thames River, London,’ The Guardian |
| Peter Wollen, ‘Death (and Life) of the Author: Peter Wollen on Kathy Acker,’ London Review of Books, Vol. 20, No. 3, February | |
| Gertrud Sandquist, ‘Review: Fantastic Prayers,’ Paletten, Stockholm | |
| 1995 | David Colman, ‘The Art Screen Scene,’ Artforum, September |
| Robert Atkins, ‘The Art World and I Go on Line,’ Cover Image, Art in America, December | |
| Carlo McCormic, ‘Hypertext: Constance DeJong,’ Paper Magazine, May | |
| Christopher Chester, ‘Digital Art’s Just Key Strokes Away,’ Associated Press | |
| Review of Die Biennale, Kultre Magazin, Graz | |
| ‘Sculpting with the Environment,’ Baille Oakes, Van Nostrand Reinhold | |
| 1990 | Gamla Studenthuset, ‘Hufvudstadsbladet Sunday Kultur section,’ Helsinki Newspaper, February |
| ‘Virus,’ Photo essay, Magazine of Vehicule Art, Montreal | |
| 1989 | Caryn James, ‘Review: Joyride,’ The New York Times, June |
| Cynthia Carr, Constance DeJong and Tony Oursler, Relatives,' Artforum, May | |
| Robert Taylor, ‘Review: Joyride,’ The Boston Globe, May 14 | |
| Jana Pavlic, ‘Review: Constance DeJong,’ Telex, Zagreb | |
| Regina Hackett, Seattle Post-Intelligencer, May | |
| 1988 | ‘Review: Relatives at the ICA, Boston,’ The Boston Globe |
| ‘Interviewing Constance DeJong about Narrative Form,’ Reflex Magazine Seattle, October | |
| 1984 | Patricia Gruben, Kay Armitage, ‘Review: Story Telling,’ The Canadian Journal of Avant-Garde and Political Cinema |
| Edward Rothstein, ‘Satayaraha,’ The New York Times, December | |
| 1981 | Jonathan Cott, ‘Constance DeJong: Avant-Garde Librettist for Philip Glass Opera,’ Other Stages |
| Joseph Roddy, ‘Satayagraha: M.K. Gandhi - in South Africa,’ People Magazine | |
| 1980 | Klaus Kertess, 'Gandhi in Choral Perspective,' Artforum, December |
| 1976 | ‘Featured Selection: Riverside Theater, Time Out London |
PUBLIC COLLECTIONS
The J. Paul Getty Museum Tate Museum The Museum of Modern Art, New York The Museum of Modern Art Library, New York Franklin Furnace Archive National Gallery of Canada, Toronto Art Metropole, Montreal, Quebec, Canada New York University, Fales Special Collection, Bobst Library New York City Public Library, Special Collections Vassar College Art Library University of North Carolina, Sloane Art Library Collection CGP, newmedia.art