Tom Holmes
b. Ozona, Texas. Lives and works in Cannon Co. & Jackson Co., TN
EDUCATION
| 2002 | MFA, Studio Art, University of California Los Angeles |
| 1999 | BFA, Studio Art, University of Texas at Austin |
SOLO EXHIBITIONS
| 2024 | Flazéda, Efremidis, Seoul, South Korea |
| 2023 | RAZOR BLADE CANDY, Efremidis, Berlin, Germany |
| 2022 | Go Back to PARTYCITY®, Von Ammon Co., Washington, D.C. |
| 2019 | REALTREE®, Bureau, New York, NY |
| 2017 | L'EGGO MY EGGO®, Bureau, New York, NY |
| 2013 | Solo Presentation, Art Basel Miami Beach / Positions, Miami, FL |
| Piss Yellow / Bars and Stars, Bureau, New York, NY | |
| Temporary Monument, Kunsthalle Bern, Bern, Switzerland | |
| 2012 | Part of This Complete Breakfast: objects for a wake, Galerie Catherine Bastide, Brussels, Belgium |
| 2011 | Painted Bones - some reliquaries, Bureau, New York, NY |
| El Camino Real, Au 8 Rue St Bon, Paris, France | |
| Bureau at LISTE16, Basel, Switzerland | |
| 2010 | Burial Shroud, Bureau at NADA Projects, Miami, FL |
| Silly Rabbit: a gravestone and an urn, Dispatch, New York, NY | |
| 2009 | Noisy Bottom, Exile, Berlin, Germany |
| 2002 | Glas ist eine zahfliessende Flussigkeit or That Joke Isn’t Funny Anymore, Galerie fuer |
| Gegenwartskunst Barbara Claasen-Schmal, Bremen, Germany | |
| Singing the Smiths to Learn Spanish, La Panadería, artist-in-residence, Mexico City, Mexico (Catalog) | |
| The Horrible True Story of..., curated by Horton, Parkhaus, Düsseldorf, Germany (Catalog) |
SELECTED GROUP EXHIBITIONS
| 2021 | untitled Arrangement, Bureau, New York, NY |
| 2020 | Until tomorrow: Ten Years of Bureau, Bureau, New York, NY |
| 2019 | Focus Group, Von Ammon Co., Washington, D.C. |
| 2018 | Verlörung, Salon cur. by Tenzing Barshee, Art Berlin Contemporary, Berlin, Germany |
| Condo New York: Bureau hosting Kristina Kite Gallery (Los Angeles) and Hopkinson | |
| Mossman (Auckland/Wellington), New York, NY | |
| 3XUSA, Bradley Kronz, Tom Holmes, Tommy Hartung, Mulier Mulier Gallery, Knokke-Zoute, Belgium | |
| 2016 | It / Ego, Brennan & Griffin, New York, NY |
| What’s Up, Soho Revue, London, UK | |
| Image Tech, College of New Jersey, Ewing, NJ | |
| The 5th of July, Atlanta Contemporary Art Center, Atlanta, GA | |
| 2015 | The Social Register, Park View, Los Angeles, CA |
| A New Use of the Self, The Luminary, St. Louis, MO | |
| Borrowed Alibis, Freymond-Guth Fine Arts Ltd, Zurich, Switzerland | |
| 2014 | Mystic Fire, Paradise Row, London, U.K. |
| 2013 | Contemporary Art Biennial, Sélestat, cur. Julien Fronsacq, Alsace, France |
| More Young Americans, Hotel de Miramion, Paris, France | |
| Champs Elysées, cur. Julie Boukobza, Simon Castets, Nicola Trezzi, Palais de Tokyo, Paris | |
| 2012 | Typical Frankenstein, Laurel Gitlin Gallery, New York, NY |
| Family Estate: A project by Lucie Fontaine, Marianne Boesky Gallery, New York, NY | |
| Straight Up, curated by Elena Tavecchia & Alice Conconi, Family Business Gallery, New York, NY | |
| Monochrome, Salts, Birsfelden, Switzerland | |
| B-Out, cur. Scott Hug, Andrew Edlin Gallery, New York, NY | |
| 2011 | The Idea of the Thing that it Isn't, Halsey McKay Gallery, East Hampton, NY |
| 4 Pillars, Bureau @ Nada Hudson, Hudson, NY | |
| 2010 | Curse of the Pharaohs, St Cecilia's Convent, Brooklyn, NY |
| 2009 | I Know Nothing of the Weather..., Pacific Northwest College of Art, Feldman Gallery, Portland, OR (Catalog) |
| 2008 | Subject Index, curated by Gabrielle Giattino, Malmö Konstmuseum, Sweden (Catalog) |
| Useful Gestures/Useless Gestures, Dispatch, NY | |
| 2007 | Undone, curated by Howie Chen and Shamim Momin, Whitney Museum at Altria, NY |
| 2005 | Put it in Your Mouth / I’ll see you on the dark side of the prune, curated by Darren Bader, Rivington Arms, New York, NY |
| Maurizio Couldn’t Be Here, with VOY, Apex Art, New York, NY | |
| Kicking Rocks, Champion Fine Art, Los Angeles, CA (Catalog) | |
| 2001 | Sharing Sunsets, Museum of Contemporary Art, Tucson, AZ |
| The Evening School/Kvällskurserna/Aftenskolen, Signal, Malmö, Sweden (Catalog) | |
| Ars Moralis-Timeo danaos et dona ferentes, Galerie fuer Gegenwartskunst Barbara Claasen-Schmal, Bremen, Germany |
SELECTED PRESS AND PUBLICATION
| 2020 | Sonalee Tomar, ‘Artist Profile: Tom Holmes,’ Asian Curator, January 17 |
| 2019 | Kriston Capps, ‘How Two Contemporary Art Shows Explore the Power of Work |
| Featuring Found Objects,’ Washington City Paper, December | |
| Logan Lockner, 'Got to Be REALTREE®: Tom Holmes at Bureau, New York,' Burnaway.org, October 30 | |
| Joseph R. Wolin, ‘Tom Holmes: REALTREE®,’ TimeOut, October 23 | |
| 2018 | 3XUSA, Bradley Kronz, Tom Holmes, Tommy Hartung, Exhibition Catalog, Mulier Mulier Gallery, Knokke-Zoute |
| 2017 | Owen Duffy, ‘Ten to see: New York,’ ArtReview.com, March 3 |
| Michael Wilson, ‘Tom Holmes,’ Time Out New York, March 1 | |
| 2013 | Boško Blagojevic, ‘Critic’s Pick: Piss Yellow / Bars and Stars’, Artforum.com |
| Andrew Russeth, ‘Tom Holmes: Piss Yellow / Bars and Stars at Bureau, GalleristNY.com | |
| "First Proof - Portfolio: Tom Holmes", Bomb, Fall 2013, pp. 65, 68-9. | |
| 2012 | Elisabeth Lebovici, 'Tom Holmes, le deuil, c'est lui qui nous le dit, c'est triste et tres joli,' le-beau-vice.blogspot.com, April 30 |
| 2011 | Anne Doran, 'Tom Holmes at Bureau,' Art in America, December Dispatch 2007-2011 |
| 2010 | Anne Doran, ‘Tom Holmes,’ Time Out New York, February 4 |
| 2009 | John Motley, ‘I know nothing of the weather’, Portland Mercury, March 5 |
| 2008 | Whitney Museum of American Art at Altria: 25 Years, pub. by Whitney Museum of American Art, New York and Yale University Press, New Haven |
| Gabrielle Giattino, ‘Subject Index’, Malmö Konstmuseum exh. catalog Internationalistisk Ideale #2, Copenhagen, DK | |
| 2007 | Leah Modigliani, ‘Undone at the Whitney at Altria' Artnet.com Pipilotti Rist, Congratulations! |
| 2005 | VICE photo issue, July |
| 2004 | La Panadería 1994-2002 |
| 2002 | Per Hüttner, “Reflection,” Mare Articum, p82 |
| Inken Steen, “Sag einfach mal ‘Sorry,’” Bremen, May 1 |
GRANTS | AWARDS
| 2015 | The Pollock-Krasner Foundation |
| 2011 | The Reed Foundation |
RESIDENCIES
| 2018 | The Helene Wurlitzer Foundation, Taos, NM |
| 2017 | Joan Mitchell Foundation, New Orleans, LA |
| 2016 | Ox-Bow, MI |
| RaizVanguarda, Portugal | |
| HomeSession, Barcelona | |
| 2015 | The Edward F. Albee Foundation, Montauk, NY |
| CV, Fez, Morocco |
PUBLIC COLLECTIONS Albright-Knox Art Gallery FRAC Bourgogne Stiftung Kunsthalle Bern The Frances Young Tang Museum and Art Gallery at Skidmore College