Robert Storr

Expert 2002

Robert Storr is an artist and critic, and a Senior Curator in the Department of Painting and Sculpture at The Museum of Modern Art, New York.


Mr. Storr received his BA degree from Swarthmore College in 1972 and his MFA from the School of the Art Institute of Chicago in 1978. He is a frequent lecturer in this country and abroad, and has taught painting, drawing, art history and criticism at numerous colleges and art schools, such as Rhode Island School of Design, Tyler Art School and the New York Studio School. He is a professor at The CUNY Graduate Center and at Harvard University, and has also taught at The Institute of Fine Arts (NYU), The Bard Center for Curatorial Studies.


He most recently curated an exhibition of Gerhard Richter’s October 18, 1977 paintings at The Modern, and authored a catalog in conjunction with the show (Gerhard Richter: October 18, 1977). Mr. Storr also co-organized Making Choices (1920-1960), the second cycle of MoMA 2000, for which his curatorial projects included The Dream of Utopia/Utopia of the Dream, How Simple Can You Get?, Modern Art despite Modernism, New York Salon, Paris Salon, The Raw and the Cooked, and War. He co-authored Making Choices and authored Modern Art despite Modernism, catalogs published along with their respective exhibitions. From 1991 to 2000, he was the coordinator of Projects, a series of exhibitions devoted to the work of contemporary artists. He is currently preparing a Gerhard Richter Retrospective scheduled for the spring of 2002.

Mr. Storr’s previous exhibitions at MoMA include: More Pieces for the Puzzle: Recent Additions to the Collection (1998), Tony Smith: Architect, Painter, Sculptor (1998), Chuck Close (1998), On the Edge: Contemporary Art from the Werner and Elaine Dannheisser Collection (1997-98), Projects: Franz West (1997), Willem de Kooning: The Late Paintings, The 1980s (1997), Deformations: Aspects of the Modern Grotesque (1996), From the Collection: Abstraction, Pure and Impure (1996), From Bauhaus to Pop: Masterworks Given by Philip Johnson (1996), Projects: Tom Friedman (1995), Bruce Nauman (1995), Projects: Ann Hamilton (1994-1995), Mapping (1994), The Long View: Works from the Painting and Sculpture Collection (1994), Projects: Moira Dryer (1993), Robert Ryman: Paintings 1955 – 1993 (1993-94), Projects: Georg Herold and Markus Oehlen (1993), Projects: Art Spiegelman (1991-92), DISLOCATIONS (1991-92).

Exhibitions at other institutions include Crosscurrents: New Art from the Collection of MoMA (1999, Hara Museum, Tokyo), Bruce Nauman (1998 Sao Paulo Bienal); New Works for a New Space (ArtPace/The Pace Roberts Foundation for Contemporary Art, Texas 1995), …it’s how you play the game (Exit Art, NY 1994-1995), Devil on the Stairs: Looking Back on the Eighties (Institute of Contemporary Art and the Newport Harbor Art Museum 1991-92), Susan Rothenberg: 15 years – A Survey (Rooseum, Malmö Sweden 1990), and Five Abstract Artists: Moira Dryer, Glenn Goldberg, John Obuck, Rebecca Purdum, Andrew Spence (The New York Studio School 1987).

Essays, Catalogs

In addition to catalogs and brochures published in conjunction with exhibitions listed above, Mr. Storr is the author of Philip Guston (Abbeville, 1986), Chuck Close (Rizzoli, 1987), and Intimate Geometries: The Work and Life of Louise Bourgeois (Timken/Rizzoli – forthcoming). Essays and interviews published in book form include: ”’You Are What You Read’: Words and Pictures by Raymond Pettibon,” Raymond Pettibon (Phaidon, 2001), ”A Worst Case Scenario,” Luc Tuymans: Mwana Kitoko [Beautiful White Man] (Stedelijk Museum voor Actuele Kunst, 2001), ”Foreword,” Out of Order, Out of Sight (MIT Press, 1996), ”Introduction,” Ilya Kabakov: The Man Who Never Threw Anything Away (Abrams, 1996), ”Louisiana Symposium: Comments,” To Be or Not to Be European: A Louisiana Debate on Modern Art and Culture (The Eleni Nakou Foundation, 1995), ”Between a Rock and a Hard Place” (The Andy Warhol Foundation for the Visual Arts, 1994), ”No Joy in Mudville,” Readings in Modern and Popular Culture (MoMA/Abrams, 1990), ”Introduction,” The Hydrogen Jukebox: Selected Writings of Peter Schjeldahl 1978-1990 (University of California Press/Lannan Series, 1991), and ”Tilted Arc: Enemy of the People?,” Art in the Public Interest (UMI Research Press, 1989).

Selected essays published in catalogs for other institutions from 1990 – 1997 include: ”The Rules of the Game,” Alex Katz: Twenty-Five Years of Painting (The Saatchi Gallery, London, 1997), ”Arachne on 20th Street,” Louise Bourgeois: Homesickness (Yokohama Museum of Museum of Art, 1997), ”Texas Shuffle,” New American Talent 13 (Texas Fine Arts Association, 1997), ”Final Rewind and Fast Forward,” Futuro, Presente, Passato – La Biennale di Venezia, XVLVII Esposizione Internazionale d’Arte (1997), ”Blind Reckoning,” Cartographers: Geo-gnostic Projection for the 21st Century (The Contemporary Art Museum, Zagreb, Croatia, 1997), ”Dizzy Spells,” De-Genderism (Setagaya Art Museum, Tokyo, 1997), ”Furnished Rooms – Inquire Within,” David Ireland (Institute for Contemporary Art, Maine College of Art, 1997), ”Here and Gone,” Susan Rothenberg: Pinturas (Museo de Arte Contemporaneo de Monterrey, 1996), ”On a Symbol of That Which Defies Representation,” Judenplatz Wien 1996: Competition on Monument and Memorial Site Dedicated to the Jewish Victims of the Nazi Regime in Austria 1938-1945 (Kunsthalle Wien, 1996), ”Priere de (ne pas) toucher,” Femininmasculin, Le Sexe de l’Art (Centre Georges Pompidou, 1995), ”Architecte du vide,” Ilya Kabakov: Installations 1983-1995 (Centre Georges Pompidou, 1995), ”Interview with Robert Storr,” Annette Messager: Faire Parade 1971-95 (Musee d’Art Moderne de la Ville de Paris, 1995), ”Stop-Action Cosmos,” Vija Celmins (Fondation Cartier pour l’Art Contemporain, 1995), ”You Have to Be Prepared: A Conversation Between David Hammons and Robert Storr,” Yardbird Suite: Hammons 93 (Williams College Museum of Art, 1994), ”Make it Real: Notes on Pluralism, Empirical Criticism, and the Present Moment,” Seminar Proceedings: Discipline Based on Art Education and Cultural Diversity (Getty Center for Education in the Arts, 1993), ”Do the Wrong Thing: Eva Hesse and the Abstract Grotesque,” Eva Hesse: A Retrospective (Yale University Art Gallery, 1992), ”When This You See,” Nancy Spero: Woman Breathing (Ulmer Museum, 1992), ”Martin Puryear: the Hand’s Proportion,” Martin Puryear (The Art Institute of Chicago/thames & Hudson, 1991), ”Two Hundred Beats Per Minute,” Jean-Michel Basquiat: Drawings (Robert Miller Gallery, 1990), ”Some Displeasures of the Text,” Life-Size: A Sense of the Real in Recent Art (The Israel Museum, 1990), ”Fertile Mirrors,” Arshile Gorky (1904-1948) (Fundacion Caja de Pensiones, Madrid, and The Whitechapel Art Gallery, London, 1989-1990). In addition, he has authored exhibition catalogue essays and articles on artists such as Francesco Clemente, Lucian Freud, Leon Golub, Felix Gonzalez-Torres, Mike Kelley, Ellsworth Kelly, Anselm Kiefer, Louise Lawler, Robert Mangold, Brice Marden, Steve McQueen, Joan Mitchell, Elizabeth Murray, Bruce Nauman, Jim Nutt, Sigmar Polke, Yvonne Rainer, Charles Ray, Peter Saul, and Rachel Whiteread.


A Contributing Editor at Art in America since 1981, Mr. Storr’s articles on Sigmar Polke, Elizabeth Murray, Francesco Clemente, Brice Marden, Leon Golub, Yvonne Rainer (among others) and on the problems of public art, criticism, and the global art community have appeared there since 1982. He is also contributing editor for Grand Street. He writes frequently for Art Press (Paris) and his criticism appears regularly in Artforum, The Village Voice, The New York Times, Parkett, Arts Magazine, Art & Design, Tate/The Art Magazine, Interview, Galleries Magazine, and other publications. Member of the Editorial Board of the College Art Association’s Art Journal from 1985 to 1995, he co-edited two issues of the magazine devoted to censorship in the arts.


Among the foundations with which Mr. Storr is affiliated are: The Marie Walsh Sharpe Foundation (Member, Advisory Committee), The MacDowell Colony (Member, Board of Directors), Skowhegan School of Painting and Sculpture (Member, Board of Governors), Louis Comfort Tiffany Foundation (Member, Board of Trustees), Atlantic Center for the Arts (Member, National Council), Yaddo (Member, Board of Trustees), International Association of Art Critics (Member), The Emanuel Hoffmann Foundation, Basel (Member, Advisory Committee), and Project Zeitwenden, Stiftung fur Kunst und Kultur, Bonn (Member, Conclave).