1967 Born in Leatherhead, England.
1985-86 Hertfordshire College of Art and Design, St. Albans.
1986-89 Goldsmiths' College, London, BA (Hons) Fine Art.
Lives and works in London

SOLO EXHIBITIONS

1989 "Simon Patterson", Third Eye Centre, Glasgow.
1991 "Allahu Akbar", Riverside Studios, London.
1993 "Monkey Business", The Grey Art Gallery, New York.
1994 "General Assembly", Chisenhale Gallery, London (exh. cat.)
"Simon Patterson", Kluuvin Gallery, Helsinki.
"General Assembly", Angel Row Gallery, Nottingham.
1995 "Simon Patterson", Gandy Gallery, Prague.
"Sister Ships", The Customs House, South Shields.
"Midway", Artium, Fukuoka.
"Simon Patterson", Röntgen Kunstinstitut, Tokyo.
"Simon Patterson", Kohji Ogura Gallery, Nagoya.
1996 "Simon Patterson", Lisson Gallery, London.
"Simon Patterson", MCA, Chicago.
1997 "Simon Patterson", Röntgen Kunstraum, Tokyo.
“Wall Drawings”, Kunsthaus Zürich.
"Simon Patterson - Spies", Gandy Gallery, Prague.
1998 "Name Paintings", Kohji Ogura Gallery, Nagoya.
"Simon Patterson", Yamaguchi Gallery, Osaka.
"New Work", Röntgen Kunstraum,Tokyo.
"Simon Patterson", Mitaka City Art Center, Tokyo.
1999 “Simon Patterson”, Magazin 4, Bregenz.
2000 “Manned Flight, 1999—”, Fig 1, London.
“Simon Patterson”, VTO Gallery, London.
2001 “Manned Flight”, Lille.
“Le Match des couleurs’, artconnexion, Lille.
“Simon Patterson”, Sies +Hoeke Galerie, Düsseldorf.
2002 “Manned Flight, 1999—”, Studio 12, ARTSPACE, Sydney.
2003 “Simon Patterson, Lisson Gallery, London
“Simon Patterson, Part 1-4 Roentgenwerke, Tokyo.
“Simon Patterson, Sies+Hoeke Galerie, Düsseldorf.

GROUP EXHIBITIONS

1988 Group Show, Institute of Education, University of London.
"Freeze", (Parts 1 & 3), PLA Building, London (exh. cat.)
1989 "1789-1989: Ideas and Images of Revolution", Kettles Yard, Cambridge (exh. cat.)
1990 "Simon Patterson and Christopher Muller", Milch Gallery, Guilford St. London.
"Group Show Part 4", Milch Gallery, Guilford St. London.
1991 “Angus Hood, Simon Patterson and Thomas Walsh", Transmission Gallery, Glasgow.
1992 “Doubletake: Collective Memory and Current Art”, Hayward Gallery, London (exh. cat.).
"Instructions and Diagrams", Victoria Miro Gallery, London.
"A Modest Proposal", Milch Gallery, Great Russell St. London.
"Etats Spécifiques", Musée des Beaux-Arts André Malraux, Le Havre (exh. cat.)
"Contact", Transmission Gallery, Glasgow.
"With Attitude", Galerie Rodolphe Janssen, Brussels (exh. cat.)
"In and Out and Back and Forth", 578 Broadway, New York (exh. cat.)
"Il Mistero dei 100 Dollari Scomparsi", Galleria Gio' Marconi, Milan (exh. cat.)
1993 "Doubletake: Kollektives Gedächnis & Heutige Kunst, Kunsthalle, Wien (exh. cat. German version)
Group Show, Galerie Rodolphe Janssen, Brussels.
"Douglas Gordon & Simon Patterson", Galerie Gruppe Grün, Bremen (exh. cat.)
"Aperto", XLV Biennale di Venezia, Venice (exh. cat. and Flash Art Catalogue).
"Wonderful Life", Lisson Gallery, London
"Alan Smithee", Galerie Philomene Magers, Cologne (exh. cat.)
1994 "Surface de Réparations", FRAC Bourgogne, Dijon (exh. cat.)
“Fiction-Non Fiction", British Festival in Rome, Galleria Alessandra Bonomo, Rome.
"The Antidote", Centre 181 Gallery, London.
"The Curator's Egg", Anthony Reynolds Gallery, London.
"Esprit d'Amusement", Grazer Kunstverein im Stadtmuseum, Graz (exh. cat.)
"Seeing the Unseen", Invisible Museum, 30 Shepherdess Walk, London.
"Mapping", Museum of Modern Art, New York (exh. cat.)
1995 "The Tube", Museum of London, London.
"The Institute of Cultural Anxiety - Works from the Collection", ICA, London (exh. cat.)
"Európa: Kreáció & Re-Kreáció (Europe: Creation and Recreation)", Mucsarnok/Kunsthalle, Budapest (exh. cat.)
"Contained", Cultural Instructions, London.
"Group Show", Gandy Gallery, Prague.
"Ideal Standard Summertime", Lisson Gallery, London
"An Exhibition of Artist's Books and Multiples", Art Metropole, Toronto.
"Nowa sztuka w Wielkiej Brytanii/New Art in Britain", Museum Sztuki, Lódz (exh. cat.)
1996 "Group Show", Galerie Alain Gutharc, Paris.
"Homo Ecologicus: Per una cultura de la Sostenibilitat", Fundació Juan Miró, Barcelona (exh. cat.)
"Obcutek za red / The Sense of Order", Moderna Galerija (MoMA), Ljubljana (exh. cat.)
"Itinerant Texts", Dartington College of Arts (exh. cat.). Touring to Tramway, Glasgow; Tate Gallery, Liverpool; The American Arts Federation and the British Library, London (1997); Camden Art Centre, London.
“Made in London”, Simmons and Simmons, London.
"Offside! Contemporary Artists and Football",
Manchester City Art Gallery, (exh. cat.). Touring to the Nothern Gallery of Contemporary Art, Sunderland; Firstsite Gallery, Colchester (1997).
"Fifty Quid", Derbyshire Street Studios, London.
"Words", Kohji Ogura Gallery, MoCA, Nagoya.
"Goal", Context Gallery, Derry.
“Group show”, Rosalyn Oxley9 Gallery, Sydney,
"The Turner Prize", Tate Gallery, London, (exh. cat.)
1997 "Magie der Zahl: in der Kunst des 20. Jahrhunderts", Staatsgalerie, Stuttgart (exh. cat.)
"Irredeemable Skeletons, the one that got away", Shillam + Smith 3 Gallery, London.
"Material Culture: the Object in British Art in the 1980's and 90's", Hayward Gallery, London (exh. cat.)
"WASP", Rosalyn Oxley9 Galllery, Sydney.
"Cartographers", Galerjie Grada Zagreba, Zagreb. Touring to Centre for Contemporary Art, Zamek Ujazdowski, Warsaw; the Mücsarnok, Budapest; Umetnostna Galerija, Maribor and Wleeshal, Middleburg) (exh. cat)
“ICA 50th Anniversary Auction Exhibition”, ICA, London, (exh. cat.)
"Multiple Choice: Prints by Young British Artists", British Council touring exhibition, Peru: Lima, Arequipa and Trujillo; Bolivia: La Paz; Venezuela: Caracas; Cuba: Havana; Brazil; Mexico, Bangkok (exh. cat.)
"Dimensions Variable”, Helsingfors Stadsmuseum, Helsinki, IASPIS, Stockholm; Soros Foundation, Kiev; Gallery Zacheta, Warsaw; Kunstasammlungen, Chemnitz; Prague Castle, Prague, (exh. cat.)
"British Artists from the Karpidas Collection, Hydra, Greece, (exh. cat.)
"Follow Me", Kunstverein, Hannover, (exh. cat.)
"Sensation", Young British Artists from the Saatchi Collection, Royal Academy, London. (exh. cat.)
"Contemporary Art in the British Embassy, The British Embassy, Paris.
"Anthology", Eagle Gallery, London; Talbot Rice Gallery, Edinburgh (1999). (exh. cat.)
1998 "Fantasy Football Art League", Walsall Museum & Art Gallery. Touring to Museum, Carlisle; Croydon Clock Tower, Croydon and BASF Building, Wembley (1999). (exh. cat.)
"Sensation", Young British Artists from the Saatchi Collection, Hamburger Bahnof, Berlin. (exh. cat.)
"First Fifteen”, Cleveland Gallery, Middlesbrough.
"Inbreeder: Some English Aristocracies", Collective
Gallery, Edinburgh.
"Tracings", Ormeau Bath Gallery, Belfast.
"Interactive", Amerada Hess Ltd, London, (exh. cat.)
“Big Issue Exhibition", Blue Note, London.
"A to Z", The Approach Gallery, London.
"Urban", Tate Gallery, Liverpool.
"Modern British Art", Tate Gallery, Liverpool.
"Deep Thought", Basilico Fine Arts, New York.
"Kunst in der Stadt 2", Bregenzer Kuntverein, Bregenz, (exh. cat.)
"Educating Barbie", Trans Hudson Gallery, New York, (exh. cat.).
"Then and Now", Lisson Gallery, London.
"Kettle Blue", Galerie Beaumont, Monterey (Luxembourg).
"London Now", Saks Fifth Avenue, New York (exh. cat.)
"Distinctive Elements", National Museum of Contemporary Art, Seoul, (exh. cat.)
“Made in London”, Museu de Electridade, Lisbon.
"Richard Wentworth's Thinking Aloud", Kettle's Yard, Cambridge. Touring to Cornerhouse, Manchester (1999); Camden Art Centre, London (1999), (exh. cat.)
"Masters of Lithography", The Victoria and Albert Museum, London.
1999 "Signature Pieces", Alan Cristea Gallery, London (exh. cat.)
"Infraslim Spaces", Birmingham Museum of Art, Alabama.
“May Day”, The Photographers’ Gallery, London.
"Calendar 2000", CCS Museum, Bard College, New York. (exh. cat.)
“I Remember”, Gandy Gallery, Prague.
“L.A. International”, Chacmool Gallery, Los Angeles.
“Now it’s my turn to scream”, Haines Gallery, San Francisco.
“Imagine Aberdeen... Imagine the Beach” Aberdeen City Art Gallery, Aberdeen.
“Contemporary Art at Penguin”, Penguin Books, London.
“Coming up for Air”, Duncan of Jordonstone College, Dundee.
“Porcupines/Art thinking, 1999”, 291 Gallery, London.
“Free State”, Art.tm, Inverness.
“Tanagokoro 5–Spirits of the Palm”, Röntgen Kunstraum, Tokyo.
"Sensation", Young British Artists from the Saatchi Collection, Brooklyn Museum, N.Y. (exh. cat.)
“Projects 70”, MoMA, N.Y.
2000 “Lisson Gallery in Covent Garden”, 9 Kean Street, London.
“Point of view: works from a Private Collection, part II”, Richard Salmon Gallery, London.
“A shot in the head”, Lisson Gallery, London.
“La Beauté du geste (l’art, le sport, et cætera)”, Centre d’art Contemporain de Vassivière en Limousin.
2001 “Multiples”, Villeneuve d’Asque.
“Teeth and Trousers”, Cell project space, London.
“London Underground”, Sungkok Art Museum, Seoul.
2002 “Con Trick: Art and Magic”, Site Gallery, Sheffield.
"Exchange", Richard Salmon Gallery, London.
"Trans–it/mit/fer/form, YYZ Artists' Outlet,Toronto.
“London Underground”, Taipei Museum of Fine Art, Taipei.
"The World May be Fantastic”, Biennale of Sydney 2002, Sydney.
"Potential Hits", Chapman Gallery, Salford.
"Magazin im Magizin #2, Magazin 4, Bregenz.
“Fear”, Sir John Soane Museum, London.
“Magik”, VTO Gallery, London.
“Tanagokoro 8–Spirits of the Palm”, Röntgenwerke, Tokyo.
"Potential Hits", Unit 2 Gallery, London Metropolitan University, London.
The Biscuit Factory, Newcastle upon Tyne.
“Con Trick: Art and Magic”, Glynn Vivian Gallery, Swansea.
2003 “Con Trick: Art and Magic”, Gallery, Athens.
“Mono”, Roentgenwerke, Tokyo.
“Chockerfuckingblocked”, Jeffrey Charles Gallery, London.
“Out of Place” Harewood House, Leeds
“Typeofgravy”, Cell Projects, London.
Group Show, London.
“100 Artists see God”, Independent Curators International (ICI), New York. Touring to various venues until 2003.
2004 “Out of Place”, Richard Salmon Gallery, London.
"Escape Routine", De La Warr Pavilion, Bexhill–on–Sea.PUBLIC ART PROJECTS
1993 "Roadworks", Givors, France.
1994-95 "Time Machine", Public Art Commissions Agency for Waterloo International Terminal, London (Nicholas Grimshaw and Partners, Architects).
1997 "Untitled: Project for the Captain Cook Birthpalce Museum, Middlesbrough.
1998 "Where Doubles Dare", (Kunst in der Stadt 2), Bregenzer Kunstverein, Bregenz.
1999 “Enigma G312”, Royal Holloway College, Universty of London.
2000/1 Cardboard school building, in collaboration with Cottrell and Vermeulen Architecture and Buro Happold, Margate Primary School.
Inaugural Tate Gallery Web Art commission.
“Landskip”, Compton Verney House, Warwickshire. Curated by Locus+.EVENTS/FILM SCREENINGS
2002 "Escape Routine", The Newcastle Opera House, Newcastle upon Tyne.
"Escape Routine", Magazin 4, Bregenz.
"Escape Routine", Curzon Cinema Soho, London.

PUBLIC COLLECTIONS

The Museum of Modern Art, New York.
London Transport Museum, London.
Victoria and Albert Museum, London.
SFMoMA.
Arts Council of Great Britain, London.
Wakayama Prefectural Museum MoMA, Japan.
Tate Gallery, London.
Kunsthaus, Zurich.
Art Metropole, Toronto.
Museum of Contemporary Art, Nagoya, Japan.
The British Council Collection, London.
Doncaster Museum & Art Gallery.
The British Government Art Collection, British Embassy, Paris.
Denver Art Museum.

CORPORATE COLLECTIONS

Saatchi Collection, London.
Deutsche Bank Collection, London.
Norton Foundation, Santa Monica, Ca.
Virgin Records HQ, London.
De Beers Diamonds Art Collection, London.
Simmons & Simmons Collection, London.
Simon BC Partners, London.
BMW Art Collection, London
Riheji Corporation, Nagoya.
Penguin Books Art Collection.
Melita Art Collection, Duesseldorf.

BIBLIOGRAPHY

Artist's Books

“Republicans”, Artist's book, published by Arefin Inc., Simon Patterson and The Third Eye Centre, Glasgow, (Produced to coincide with solo exhibition at The Third Eye Centre, Glasgow, 1989.) Ed. of 700, paperback; ISBN 0 906474 82 5. & Ed.of 25, hardback; ISBN 0 906474 82 5.

“Rex Reason”, Edition of 1, Artist's book; hand-bound letterpress presentation copy published by Bookworks, commissioned by the Arts Council of Great Britain for the Prudential and Arts Council of Great Britain Award, 1993. Artist's book: ed. of 10 copies, hand-bound letterpress, published by Bookworks, London, 1994. Artist's book; paperback ed. of 2000, offset lithography, published by Bookworks, London, 1994, ISBN 1 870699 13 0.

ARTISTS PAGES

"Untitled", Technique Anglaise: Current Trends in British Art, 1991, Artist's pages, edited by Andrew Renton & Liam Gillick, Thames & Hudson/One Off Press, ISBN 0 500 97396 2 Library of Congress Catalog card No. 91 65321; pp156-161.
"World Championship", In and Out and Back and Forth, Artist's pages: exhibition catalogue, published by Idaho Editions, London, 1992, pp25-6, ISBN 1 874592 01 2.
"The Chamber of the House of Lords/Herbaceous Border Plants/Hardy Perennials", in L'Endroit Idéal, edited by Eric Troncy, published by L'Ille du Roy, Centre d'Art et Jardin, Val de Reuil, France, 1993, p145.
"Untitled", in Wall to Wall, Artist's pages: exhibition catalogue, published by The South Bank Centre, London, 1994, ISBN 1 853332 121 4, pp62-63.
“Passport”, Morning Star Publications, Edinburgh , 1999, ISBN 0 9527669 6 5, pp22–5. Ed. of 750.
Magazine Projects
"The Last Supper Arranged According to the Sweeper Formation, (Jesus Christ in Goal)", Artist's page; Art Monthly, No. 139, September 1990, p34.
"Colours for Identification, Coding and Special Purposes", Artists' pages (in collaboration with Douglas Gordon), Frieze, issue 2, 1991, pp 14-15.
"Le Championnat du Monde (Le Grand Prix Britannique)", Artist page in Documents sur l'art contemporain, issue 1, October 1992, p4.
"Untitled", Front panel for Audio Arts Magazine, Vol.14, No.2, London, 1994.
"Monaco (Monte Carlo)", Bijutsu Techo, Monthly Art Magazine, Artist's Pages, BT 4/96 pp.5-6, 1996.
"Untitled", cover for Cleveland Community Forest proposal, Cleveland Arts, 1997.
“Freiheit der Kunst”, (anti Haider works for Transact – Transnational Activities in the Cultural Field. In cooperation with the Museum in Progress supported by Art Pool). www.mip.at/de/projekte/40.html and Der Standard, June 23, 2000 pp18–19.
“Untitled”, Perfect Magazine. Paris 2003.pp–
Catalogues
Freeze, Platonic Tropics, by Ian Jeffrey, London Docklands, London, 1988.
Goldsmiths’ 1989, University of London, 1989.
After 1789: Ideas and Images of Revolution, H. Gresty, ed., Kettle’s Yard Gallery, 1989, ISBN 0 907074 37 5.
Doubletake: Collective Memory and Current Art, essays by L. Cooke, B. Curriger & G. Hilty, The South Bank Centre & Parkett Publishers, 1992. ISBN 185332 082 X19
Etats Spécifiques, essays by F. Cohen & M. Archer, Musée des Beaux-Arts André Malraux, Le Harvre, 1992. French
& English.
With Attitude, texts by Philippe Braem, Philippe Braem, Brussels, 1992.
In and Out and Back and Forth, essays by A. Dannat, A. Rawsthorn, L. Cottingham and R. Sinclair, Idaho Editions, London, 1992, ISBN 1 874592 01 2.
Il Mistero dei 100 Dollari Scomparsi, text by Liam Gillick,Galleria Gio’ Marconi, 1992.
Doubletake: Kolektives Gedächtnis & Heutige Kunst, essays by L. Cooke, B. Curriger and G. Hilty,
Kunsthalle Wien & The South Bank Centre, 1993. German text. ISBN 3 852470005.
XLV Esposizione Internazionale d’Arte: Punti Cardinali dell’Arte; La Biennale di Venezia, Marsilio Editori S.P.A., Venezia, 1993, vols. I & II. Italian & English, ISBN 88 208 0378 X.
XLV Biennale di Venezia: Flash Art Aperto ‘93; Emergency/ Emergenza, Giancarlo Politi, Milan, 1993.
Italian & English, ISBN 88 7816 053 9.
Galerie Gruppe Grün, Galerie Gruppe Grün, Bremen, 1993.
Alan Smithee, Galerie Philomene Magers, Köln, 1993.
High Fidelity, essay, Low Frequency, by James Roberts, Kohji Ogura Gallery, Nagoya, 1993. Japanese and English texts.
Wall to Wall, essay: Working the Wall, by Liam Gillick, The South Bank Centre, London, 1994, ISBN 1 85332 121 4

Simon Patterson - General Assembly, essay, Joking Apart, by Patricia Bickers, Chisenhale Gallery, London, 1994.
Mapping, essay, The Map Room: A Visitors Guide, by Robert Storr, Museum of Modern Art, New York 1994. Lib. of
Congress cat. card # 94 077142, ISBN 0 87070 121 5 (MoMA), ISBN 0 8109 6140 7 (Harry N. Abrams Inc.).
Esprit d’ Amusement, essays by T. Trummer, C. G. Triebel, J. Decter, S. Gargerle and M. Klarer, Grazer Kunstverein
im Stadmuseum Graz, German,1994.

The invisible Museum [sic], essay, Sealing Wax and String, by James Roberts, published by Peter Fleissig, London,
1994, Brit. Library ISSN 135 0484.
Art ‘94: The London Contemporary Art Fair, Business Design Centre, London, 1994.
The Institute of Cultural Anxiety: Works from the Collection, essay, Every Creeping Thing: The Anxieties of Collecting, by Francis McKee, ICA, London, 1994, ISBN 0 905263 74 X.
Európa: Kreáció & Re-Kreáció/Europe: Creation & Re-Creation, Kunsthalle/Mücsarnok, Budapest, 1994, Hungarian & English, ISBN 963 7550 64 X.
Surface de Réparations, essay, Discourse on Method, by Eric Troncy, (with Artists’ statements), French & English, FRAC de Bourgogne, Dijon, 1995.
Nowa sztuka w Wielkiej Brytanii/New Art in Britain, essays by Maria Morzuch and Jaromir Jedlinski, Polish & English texts, Muzeum Sztuki, Lodz, 1995, ISBN 83 903470 5 9.
Contemporary Art at Deutsche Bank, London, Deutsche Bank AG, Frankfurt, 1996, ISBN 3 89322 825 X.
Homo Ecologicus: Per una Cultura de la Sostenibilitat, Fundació Joan Miró, Barcelona and the Departament de Cultura de la Generalitat de Catalunya, 1996, Catalan, ISBN 84 393 3782 5.
Art et Mégalopole: RN 86, edited by Alain Charre & Jacky Vieux, essay: Importance du lieu, limites du consensus, by James Lingwood, L’Institut pour l’Art et la Ville, Maison du Rhône, Givors and Pierre Mardaga Editeur, Liège, 1996,
French, ISBN 2 87009 614 3.
Made in London, The Element of Risk, by Richard Shone, Simmons & Simmons Collection, London, 1996.
Offside! Contemporary Artists & Football, essays by J. Gill, S. Kuper & R. Williams. Manchester City Art
Galleries & the Institute of International Visual Arts, 1996. ISBN 0 901673 50 1.
Artium ‘95, Artium Art Gallery, Fukuoka, 1996.
Obcutek za red / The Sense of Order, Mika Briski ed., essay by Zdenka Badovinac Moderna Galerija Ljubljana/ Museum of Modern Art, Slovenia, Slovene & English, 1996.
Made in London, text by Richard Shone, published by Simmons and Simmons, 1996.
Turner Prize Broadsheet, texts by Virginia Button,Tate Gallery, London, 1996.
Magie der Zahl: In der Kunst des 20. Jahrhunderts, Karin v. Maur, ed., Staatsgalerie Stuttgart, German ISBN
3–7757–0666–6, 1997.
Material Culture: The object in British Art in the 1980’s & ‘90’s, essay Material Culture: a user’s guide by M. Archer and G. Hilty, The South Bank Centre, London, ISBN 1–85332–165–6, 1997.
Wall Drawings, ed Bernhard Fibischer, Kunsthaus Zurich, 1997.
Cartographers, 1997.
The ICA 50th Anniversary Auction, Sothebys & ICA, 1997.
Multiple Choice: Obras Impresas de Jovenes Artistas Britanicos, text by Sara Roberts, The British
Council Collection, ISBN 0 86357 368 0, 1997.
Sensation: Young British Artists from the Saatchi Collection, (catalogue) Royal Academy of Arts, ISBN 0
900 946 57 1, 1997. (Also see anthologies).
Follow Me, edited by Martina Goldner, published by Landschaftsverband der ehemaliigen Herzoogtümer Bremen und
Verden. ISBN 3 931879 02 X, 1997
Dimensions Variable, text by Ann Gallagher, published by The British Council. ISBN 0 863577 376 1,1997.
Anthology, text by Alec Finlay, 1997.
Interactive: an exhibition of contemporary British Sculpture, text by Janice Oresman, published by Armerada Hess Ltd., London, 1998.
Distinctive Elements, National Museum of Contemporary Art, Seoul. Published by the British Council and The Museum of Contemporary Art, Seoul, 1998.
London Now, published by Saks Fifth Avenue Project Art, text; ‘London Art now’, by Sarah Kent, 1998.
Educating Barbie, texts by David Burrows and Mark Harris, published by Trans Hudson Gallery, 1998
Simon Patterson: Playrooms of words and images, essays: 'A Fiction called System', by Natsumi Araki and ‘General Assembly: The Power of Association’, by Patricia Bickers, published by Mitaka Art Centre, Tokyo, 1998.
Kunst in der Stadt 2, published by the Bregenzer Kunstverein, Bregenz, 1998.
Simon Patterson: Name Painting, published by the Kohji Ogura Gallery, Nagoya, 1998.
Richard Wentworth’s Thinking Aloud, National Touting Exhibitions, essay by Nick Groom. ISBN 1 85332 187 7, 1998.
Signature Pieces, texts by Marco Livingstone, published by Alan Cristea Gallery, London, 1999.
Now its my turn to Scream: works by contemporary British Artists from the Logan Collection, text by Roger Bevan, published by SFMoMA, ISBN 0–918471–58–3, 1999.
Representing Britain: 100 works from the Tate Collections 1500–2000, text by Martin Myrone, published by the Trustees of the Tate Gallery and Tate Publishing, 2000. ISBN 1 85437 321.
British Council collection at UBS Warburgs, text ‘No Place like the present’, by J. J. Charlesworth, 2001.
Fig–1, published by Tate Publishing, 2001.
Con Art, published by Site Gallery Sheffield, ISBN 1–899926–95–X, 2002.
Trans–it/mit/fer/form, Toronto, 2002.
Biennale of Sydney: (The World) May Be Fantastic, essay 'Escape Routine', by Ian Hunt, 2002.
Magazin im Magizin.2, essay by Thomas Meissgang, published by Magazin 4 Voralberger Kunstverein, Bregenz, 2002.
Simon Patterson, essays: 'Widescreen Visions', by Iwona Blaswick and 'In the Name of…' by Bernhard Fibicher. Edited by Patricia Bickers. Published by Locus+, 2002. ISBN 1 899377 16 6.
From Arkhipov to Zittel; Selected Ikon Off–site Projects 2000–2001, forward by Deborah Kermode and Jonathan Watkins, published by Ikon Gallery, Birmingham, 2002. ISBN 0 907594 82 4.
Anthologies:
Technique Anglaise: Current Trends in British Art, Andrew Renton & Liam Gillick eds.,Thames & Hudson &
One Off Press, 1991. ISBN 0 500 97396 2. Lib. of Congress cat. card # 91 65321.
L’Endroit Ideal, edited by Eric Troncy, L’ Ille du Roy, Centre d’ Art et Jardin, Val de Reuil, France. 1993.
Britain at the Venice Biennale, 1895-1995, edited by Sophie Bowness & Clive Phillpot, the British Council, 1995.
ISBN 0 86355 283 8.
Artists’ Books: The Book as a work of Art, 1963–1995, Stephen Bury, Scholar Press, 1995. ISBN 1 85928
163 X.
Map, Institute of International Visual Arts (inIVA), 1996, ISBN 1 899846 07 7.
The Redstone Diary of True Places, Redstone Press, 1996. ISBN 1 870003 27 6.
Book works: A Partial History and Source book, edited by Jane Rolo and Ian Hunt. Essays by Michael Bracewell.
Pavel Büchler and Ann Gallagher, Book works, London, 1996. ISBN 1 870699 20 3.
The Absurd Diary: Redstone Press, 1996. ISBN?
Terra Infirma: Geography’s Visual Culture, Irit Rogoff, Routeldge, New York and London, 1997. Lib. of
Congress cat. card #? ISBN 0-415-09615-4 (hbk) ISBN0-415-09616-2 (pbk), pp76-8
Art Since 1960, Michael Archer, Thames and Hudson, 1997. ISBN 0–500–20298–2.
Conceptual Art, by Tony Godfrey, Phaidon, ISBN? 1998
What is Conceptual Art? by Peter Osborne, Academy Editions, 1998, 64pp. ISBN?
Sensation: Young British Artists from the Saatchi Collection, (hardback), Thames and Hudson. ISBN 0-
500-23752-2, 1997. (Also see catalogues).).
Moving Targets: A user’s guide to British Art now, Louisa Buck, Tate Gallery Publishing, 1997, ISBN 1 85437
223 8.
Anthology, Morning Star Publications, Edinburgh, 1997.
Public Art: Space: edited by Sara Roberts published by Merrell Holberton publishers Inc., ISBN 1-85894–048–6. 1998.
Artist/ Author: Contemporary Artists’ Books, Cornelia Lauf and Clive Phillpot, Distributed Art publishers Inc. and The American Federation of Arts, ISBN 1–885444–07–9 (soft cover) and ISBN 1–881616–94–0 (hardcover), 1998.
Random Access 2, (Ambient Fears), Pavel Büchler & Nikos Papastergiadis Eds., published by Rivers Oram Press, London and Paul and Company, Massechusetts. ISBN 1–85489–086–7 & ISBN 1–85489–087–5, 1996.
This is Modern Art, Matthew Collings, published by Wiedenfeld and Nicholson, London, 1999. ISBN 0–29784292–7
The Saatchi Decade, Essay by Richard Cork, published by Booth–Klingons Editions, 1999. ISBN
Last Supper, published by Phaidon, ISBN 0–7148–3940–X.,2000.
Invisible London, published by Ellipsis, ISBN 1–84166–061–2, 2001.
Modern Contemporary: Art at MoMA since 1980, edited by Kirk Varnedoe, published by MoMA, New York, 2000.
The Public Intellectual, edited by Helen Small and Paul Strohm, published by Blackwell Press, 2001.
Doing Cultural Geography, by Pamela Shurmer–Smith, published by Sage, 2001.
What is Graphic Design? by Quentin Newark, published by Atelier Works, 2002.
Nabokov's World (Volume 2: Reading Nabokov), edited by Jane Grayson, Arnold McMillin and Priscilla Meyer, 'How did they ever make a painting of Lolita?', by John D. Quin, pp186–203, published by Palgrave, ISBN 0–333–71018–5, 2002.
Football Haiku, edited by Alec Finlay, Morning Star Publications, Edinburgh, 2002.
Writing on the Wall, by Simon Morley, published by Thames and Hudson, 2002. ISBN
Transmission: Speaking and Listening: volume 1, edited by Sharon Kivland and Lesley Sanderson. Published by Sheffield Hallam University and Site Gallery, Sheffield, 2002. ISBN 0 86339 986 X.
Imagined Londons, edited by Pamela K. Gilbert, ‘Modernist Space and the Transformation of Underground London’, by David L. Pike, pp 101-119. Published by State University of New York Press, 2002. ISBN 0–-7914–5502–5.
Mapping: An Illustrated Guide to Graphic Navigational Systems, compiled and edited by Roger Fawcett –Tang, essays by William Owen. Published by RotoVision, 2002. ISBN 2 88046 707 1.
Architecture 02: the RIBA awards, edited by Tony Chapman. Published by Batsford, 2002, ISBN 0 7134 8793 3. pp 50-3.
Figuring it out, Colin Renfrew. Published by Thames and Hudson
2003. ISBN 0 500 05114 3, pp 168-9.

INTERVIEWS

Collings, Matthew: The Late Show, BBC 2, ‘Goldsmiths’’, April, 1989.
Gillick, Liam: Audio Arts Magazine, ‘Venice Biennale 1993’, Vol. 13, Nos. 2 & 3, side 3, Sept. 1993.
Smith, Bob: Untelevision, ‘Venice Biennale: The Cardinal Points of Art’, Issue 2, 1993.
Makabe, Kaori: Bijutsu Techo Monthly Art Magazine, Vol. 46, No. 688, BT 5, May, 1994, pp 68 - 71 & 116.
Wall to Wall: BBC Radio South, May. 1994.
Gillick, Liam: Audio Arts Magazine, ‘Wall to Wall’, Vol. 14, No. 2, 1994.
Greenberg, Sarah: Tate: The Art Magazine, ‘The Word According to Simon Patterson’, Issue 4, Winter, ‘94, pp 44 - 7.
Kastner, Jeffrey: Art News, ‘Great Britain ‘94 British Art Today: A New Powerhouse’, Vol. 93, #7, Sep, ‘94, pp 146 - 53.
Lewis, Emily: Visual Arts Administration: Curating and Commissioning Contemporary Art, Royal College of Art, ‘Hello. Artists in conversation: Simon Patterson Emily Lewis’, ISBN 1 874175 16 0, 1996.
Gooding, Mel: Audio Arts Magazine, ‘Simon Patterson’, Vol. 15, #4, side 1, 1996.
Pirman, Alenka: M’ ARS: Magazine of the MoMA Ljubljana, ‘Imena so le besede za stvari’, Vol. VIII/3-4, 1996, pp 55.
Greenberg, Sarah: Tate: The Art Magazine, ‘Christ as a sweeper’, Issue 9, Summer, 1996, p 44 - 5.
Pirman, Alenka: Sculpture, ‘Names are words for things’, Vol. 16, #1, Jan 1997, p 20–5.
Pop TV: Slovenian TV News, ‘The Sense of Order’, Apr. 1996.
Griffiths, Mary: Offside! Contemporary Artists and Football, (Video), Manchester City Art Galleries’ Video, May 1996.
Glass, Ian: Channel Four News, 19 Jun. 1996.
Channel 1:Cable TV, 19 Jun. 1996.
BBC Radio Foyle, ‘Goal’, 2 Aug. 1996.
Haughey, Nuala: The Irish Times, ‘Turner Prize nominee Simon Patterson talks to Nuala Haughey about new interpretations of everyday images: Football team formations by divine inspiration’, 20 Aug, ‘96, p 6.
Hobbs, James: D-Tour, ‘For the Art and money’, Nov. 1996, p17.
BBC Newsroom South East, ‘Turner Prize’, Nov. 1996.
Wills, Peter: British Satellite News, Nov. 1996.
Paxman, Nikki, Night Waves, BBC Radio 3, 26 Nov. 1996.
Turner Prize: Illuminations for Channel Four Television, 28 Nov. 1996.
Tyson, Paul, CharltonTV, London Tonight, 28 Nov. 1996.
Larissa Trüby & Juri Köster, HFF München for NRT, Brit Art, 1996/7, (30 mins) & Unlabled for The Kasel
Documentary Festival, 1997, 45 (mins).
London Art Report?
Fibicher, Bernhard, Wall Drawings catalogue, Kunsthaus Zürich, 1997.
BBC Radio Ulster, 26/3/98.
South Bank Show LWT & Channel Four TV, ‘Socerrarti, 31 May 1998.
Greussing, Marcus, ‘Kunst in der Stadt 2’, Osterreich 01 ORF Broadcast at 15:45 on 11/7/98.
Francis, Mark: 'Simon Patterson: Manned Flight', Fig–1 catalogue, 2001
Dawson, Mike & Griffiths, Jane, ‘Ideal worlds: an interview with Simon Patterson’, Flux, #22 Dec 2000/Jan 2001, pp36–8.
Goldstein, Lauren, Time, ‘First Person: an interview with Simon Patterson’, Special Issue: fast forward Europe, Winter 2000/01, p56.
The Art Magazine Wolgan Misool, ‘Simon Patterson’, #2 February 2001, p80.
Jackson, Camilla, ArtsOnline BBC/Arts council of England.
Marlow, Tim: Artworks, LWT, 23 June, 2002.
BBC Radio 12 July, 2002
Kröner, Magdalena: ‘Wenn ich es mir leisten Könnte, würde ich jemanden furs malen bezahlen’, Kunstforum International #163, 2000, pp224-231.
Reviews, Articles, etc:
Bulloch, Angela: Art & Design, ‘Freeze’, Vol. 3/4, Jan. 1989, pp 52–3.
Dannat, Adrian: Flash Art, No. 150, Jan/Feb, ’90, p.96, and Flash Art, Edizione # 55, April/May 1990, p 97.
Renton, Andrew: Blitz Magazine, Dec. 1990.
Harada, Ruiko: Bijutsu Techo Monthly Art Magazine, Dec/Jan, 1990/91.
Morgan, Stuart: Artscribe, # 85, Jan/Feb, 1991, pp 13–14.
Lillington, David: Time Out, Preview, ‘Trivial Pursuit, D. Lillington on S.Patterson’, Vol. 1075 Mar 27–3 Apr. 1991,p 46.
Hilton, Tim: The Guardian Guide, Visual Art Choice, 15 Feb. 1992, p 18.
McEwen, John: The Sunday Telegraph, 23 Feb. 1992.
Lubbock, Tom: The Independent on Sunday, 23 Feb. 1992.
Whitford, Frank: The Sunday Times, ‘Once More With Feeling’, 23 Feb. 1992, p 14.
Feaver, William: The Observer, 23 Feb. 1992.
Packer, William: The Financial Times, ‘Double Take’, 25 Feb. 1992.
Hilton, Tim: The Guardian, 26 Feb. 1992, p 36.
Cork, Richard: The Times, ‘Do You See What They See?’, 28 Feb, 1992.
Furse, Patrick: G Spot Magazine, ‘Doubletake at the Hayward’, #2, Vol. 1, Feb. 1992, p 29.
Graham-Dixon, Andrew: The Independent, ‘Dismembered Vision’, 3 Mar. 1992.
Cooper, Emmanuel: Time Out, ‘Preview: Emmanuel Cooper on Doubletake’, 4-11 Mar. 1992, p 36.
Negrotti, Rosanna: What’s On, 25 Mar. 1992.
Lebovici, Elizabeth: Libération, 27 Mar. 1992.
Gillick, Liam: Art Monthly, #154, Mar, 1992, pp 14–15.
Duckworth, Mick: Classic Bike, Apr. 1992.
Melhuish, Clare: Building Design, 3 Apr. 1992, pp 13–15.
Lillington, David: Time Out, ‘Preview’, 22-29 Apr. 1992, p?
Barter, Ruth: Art Monthly, #155, Apr. 1992, pp 16–17.
Morgan, Stuart: Frieze, Issue 4, Apr/May, 1992, pp 6–11.
Morgan, Stuart: Art Monthly, #156, May, 1992, pp 3–5.
Sinclair, Ross: Art Monthly, #158 July/Aug. 1992, pp 20–1.
Troncy, Eric: Flash Art, Vol. XXV, #165, 1992, pp 88–9.
Ardenne, Paul: Art Press, ‘Etats Spécifiques; Onze Artistes Anglais, Musée des Beaux-Arts’, Vol. 172, Sep, 92, p 77.
Warner, Marina: Parkett, #33, 1992, pp 8–18.
Romano, Gianni: Zoom, ‘Rivista dell’Imagine’, #119, Sep/Oct, 1992, p 24.
Meuris, Jacques: La Libre Belgique, ‘Les Britanniques: voix nouvelles’, #156, Oct. 1992.
Lorent, Claude: Art et Culture, Britain in Brussels; ‘‘Quand L’ attitude devient art’, Nov, 1992, pp 7–13.
Gillick, Liam: Art et Culture, ‘Listes divers définis en termes de pourcentages’, Nov, 1992, pp 14–15.
Lambrecht, Luk: De Morgen, ‘Stijl en Karakter: jonge kunst uit Groot Brittannië’, 8 Nov. 1992.
De Witte Raaf, ‘Meesters van het morbide’, Nov, 1992.
Wilson, Andrew: Art Monthly, ‘With Attitude’, #162, Dec/Jan, 1992/3, pp 8–12.
Bourriaud, Nicholas: Flash Art, ‘The Work of Art in the Age of Recycling’, Vol. 25, #167, Nov/Dec., 1992, pp 60–3.
Brayer, Marie-Ange: Art Press, ‘With Attitude’, #175, Dec. 1992, pp 84–85.
Titz, Walter: Kleine Zeitung, (Graz), ‘Die Gedächtnisse der Welt’, 8 Jan. 1993.
Krumpl, Doris: Der Standard, ‘Totale Erinnerungen’, 8 Jan. 1993.
C.W.: Neue Kronen Zeitung, 8 Jan. 1993.
Melchart, Erwin: Zeitung, Wien, ‘Die Kunst mit dem “Dopplten Boden”’, 8 Jan. 1993.
Frohmann, Günther: Salzburger Nachrichten, ‘...– Effekt Interessante Namen, aber keine Gesamtschau’, 12 Jan, ‘93.
Wojta, Rudolph J: Wirtschafts Woche, ‘Spätzündung’, #3, 14 Jan. 1993, p 66.
Archer, Michael: Frieze, ‘Jesus Christ in Goal, Michael Archer on Simon Patterson’, #8, Feb. 1993, pp 32 - 35.
Castle, Frederick Ted: Art Monthly, ‘Occurrences - NY’, #163, Feb. 1993, pp 22 - 3.
Zinggl, Wolfgang: Falter, ‘Heiraten als Kunst’, 1 Feb, 1993, p 47.
Winter, Judith: The Tempest, ‘A continuing dialogue’, May 1993, pp 19–20.
Lyttleton, Celia: Mail on Sunday, ‘Collectables: Gilt - Framed Investments’, 13 June 1993, p 28.
Bevan, Roger: The Art Newspaper, ‘Lisson’, #30, Jul/Sep, 1993.
Shone, Richard: The Observer, ‘God’s bods and odd bods’, 8 Aug. 1993.
Lubbock, Tom: The Independent, ‘Stupid like a conceptualist’, 10 Aug. 1993.
Dorment, Richard: The Daily Telegraph, ‘Hypnotised by a handful of stars’, 11 Aug. 1993.
Combalia, Victoria: Babelia, ‘Telas con Gato’, 11 Sep, 1993.
Combalia, Victoria: El Pais, Madrid, ‘Artistas Ingleses ... las galerias e instituciones del Reino Unido’, 11 Sep, 1993.
Art Monthly, Art notes, #169, Sep, 1993, p 32.
Crabtree, Amanda: Ville et Communication, ‘Restruction Artistique pour Givors’, #106, 27 Sep, 1993, p 8.
Cottingham, Laura: Frieze, ‘“Wonderful life” - the Lisson Gallery, London’, #12, Sep/Oct, 1993, pp 56–7.
Flash Art International, ‘London: It’s a Wonderful life at the Lisson’, Oct. 1993.
Odling-Smee, James: Art Monthly, ‘“Wonderful life”, Lisson Gallery’, #170, Oct. 1993, pp 26–7.
L.B.: Le Progrés, ‘Opération RN 86: Le Mystère Persiste’, 16 Oct. 1993.
Rhodes, Richard: C Magazine, Contemporary Art Quarterly, ‘Our Disneyland’, #39, Fall 1993, pp 20–7.
Wilson, Andrew: Forum International, ‘“Wonderful Life”, Lisson Gallery,London’, #19, Oct/Nov, 1993, p 136.
Harada, Ruiko: Bijutsu Techo Monthly Art Magazine, ‘Wonderful life’, Vol. 45, #678, Nov. 1993, pp 148–9.
Cummings, Neil: Obieg Magazine for Contemporary Art, Warsaw, ‘Cudowne Zycie’, Nov/Dec, 1993, pp 44–5.
Lorés, Maite: Art Line, ‘Wonderful Life’, Dec. 1993
Guéhenneux, Lise: Revolution, Les Enjeux, ‘Art et Ville, Recontre’, #721, 23–9 Dec, 1993, pp 24–6.
Kastner, Jeffrey: Art Monthly, ‘Where’s the Scene’, #172, Dec/Jan, 1993/4. pp 14–17.
Yamada San: Daily Asahi, 28 Jan. 1994.
Our City, ‘Adam Chodzko and Simon Patterson’, Vol. 1, Jan. 1994, p 68.
Gallery (Japan), Vol. 2, Feb. 1994, p 40–41.
Cassim, Julia: The Japan Times, ‘Chodzko, Patterson’, 13 Feb. 1994, p 10.
Art Weekly (Japan), Issue, 3, Vol. 22, 1994.
Pia, ‘Six young artists at the forefront of British Art’, 22 Mar. 1994, p 19.
Studio Voice, ‘Six British Artists - High Fidelity’, #4, Vol., 220, Apr. 1994, p 75.
Contemporary Art, ‘Wall to Wall’, Spring, 1994, p 52.
The Southern Daily Echo (Southampton), ‘Wall to Wall Insults’, 27 Apr. 1994.
The Tatler, ‘Wall to Wall’, May 1994.
Heden, Anne: Pastau, 'Vardaagen med Nya ögon', 6–12 May, 1994.
Hall, James: The Guardian, ‘Extra Mural Activity’, 9 May 1994, pp 4–5.
Ericson, Lars: Dagens Nyheter, 'Brittisk skulptur so ger mersmak', 27 May, 1994.
Nilsson, Joen Peter: Aftonblatet, 'Sex Vald Knark Makt Sprark Smuts Lyx Kön', 31 May, 1994, pp3–5.
Besson, Christian: Flash Art ‘“Surface de Réparations” - FRAC de Bourgogne, Dijon’, Vol. XXVII, #176, May/Jun, 1994, p 122.
Gysing, Kenneth: Elle, 'Fem Unga Britter', June, 1994.
Allerhom, Milou: Kulturen, 'Krigsleksaker', 3 June, 1994.
Nakamura, Hiromi: Nippon Camera, ‘Photography is Already Antique’, #636, July 1994, p 137.
Godfrey, Tony: Untitled Magazine: A Review of Contemporary Art, #5, Summer 1994, pp 8–9.
Feaver, William: The Observer, 1994.
Brayer, M A: Exposé, ‘Du Sujet aux Identités Nominales: Enquêtte sur le Propre Noms’, #1, Spring/Summer, ‘94, pp 4–35.
Gale, Iain: The Independent, ‘Staying true to type’, 12 Jul, 1994.
Jennings, Rose: Time Out, ‘Simon Patterson, Chisenhale’, 13-20 July 1994, p 37.
Grant, Simon: Evening Standard, ESP Magazine, ‘Rising Star: Simon Patterson’, 15 July 1994, p 48.
Kastner, Jeffrey: Art Monthly, ‘Up Against it’, #178, Jul/Aug, 1994, pp 7–11.
Gisbourne, Mark: Art Monthly, ‘Fiction/Non-Fiction’, #178, Jul/Aug, 1994, pp 35–7.
Lillington, David: Metropolis M, ‘Simon Patterson, Chisenhale Gallery, Londen’, #4, Aug. 1994, p 51.
BBC 1 Television; The Clothes Show, Sept 1994.
Hunt, Ian: Art Monthly, ‘Simon Patterson, Chisenhale Gallery, London’, #179, Sep, 1994, pp 35–7.
Collings, Matthew: The Independent on Sunday Magazine, ‘A Guide to Invisible London’, 25 Sep, 1994, pp 32–3.
Nikkei Art, 'Wonderful life', #61, October, 1994, p97.
Courtney, Cathy: Art Monthly, ‘Artists’ Books: In The Public and Private Domain’, #179, Sep, 1994, pp 42–3.
Smith, Roberta: The New York Times, ‘Mapping - Museum of Modern Art’, 14 Oct. 1994.
Troncy, Eric: Prime Time: le Magazine des expositions, (Video Magazine), Nov. 1994.
Umbrella Magazine ‘Bookworks from England: Rex Reason’, Vol. 17, Dec. 1994, p 102.
Makabe, Kaori: Bijutsu Techo Monthly Art Magazine, ‘Very New Art’, Vol. 47, #700, BT/1, Jan. 1995, pp 144–45.
Cork, Richard: The Times, 'The Institute of Cultural Anxiety', 31 Dec., 1994.
Weil, Benjamin: Art Monthly, ‘Mapping’, #182, Dec/Jan, 1994/5, pp 31–2.
Dorment, Richard: The Daily Telegraph, ‘Science Friction, The ICA - Works from the Collection’, 11 Jan. 1995, p 21.
Gandy, Nadine: Technikart, ‘Les Londiens s’exportent à l’est’, Mar/Apr, 1995, p 18.
Print Collectors Newsletter (U.S.A.), ‘Rex Reason’ Mar/Apr, Vol. XXVI, #1, 1995, pp 24–5.
Morgan, Stuart: Frieze, ‘The Future is not what it used to be’, 1995, pp 34–7.
Roberts, James: General Release Catalogue, ‘Never had it so good’, published by The British Council 1995, pp 49–62.
Lillington, David: Time Out, ‘London Lines: Art in the Open’, 1995, p 9.
Art & Design: ‘Rex Reason’, 1995, p 21.
Rawes, Peggy: Art & Design, British Art Defining the ‘90’s), ‘Book Works’, #41, 1995, pp 8–11.
Gandy, Nadine: Techikart, Les Londiens s'exportent à l'Est',March/april, 1995, p18.
Bruthansová, Tereza: Ateliér, ‘Staronová Gandy Galerie aneb Z Roztok do Prahy’, #12, 6 June 1995, p 9 & 15.
Graham-Dixon, Andrew: Vogue (English Edition), ‘The British Art Buzz’, Vol. 161, #8, Jun 1995, pp 118–23.
Flood, Richard: Artforum, ‘Dream Tate, preview: Richard Flood talks with Nicholas Serota’, Oct. 1995, pp 33–5.
Cork, Richard: The Times, ‘Summer brings cold comfort’, 15 Aug, 1995, p 36.
Crea, Tokyo, Nov. 1995, p 191.
Gallery (Japan0 Nov. 1995, p 141.
Art & City, 21 Nov. 1995.
Le Figaro, (Japon): 5 Dec. 1995.
Wakefield, Neville: Tate Art Magazine, 'Quite Brilliant', #7 Winter, 1995, pp32–9.
Makabe, Kaori: Bijutsu Techo Monthly Art Magazine, Vol. 48, #718, BT/1, Jan. 1996, pp 148–9.
Studio Voice: Vol. 241, Jan. 1996.
Ford, Simon: Art Monthly, ‘Myth Making’, #194, Mar. 1996, pp 3–9.
Archer, Michael: Art Monthly, ‘No Politics Please We’re British’, #194, Mar. 1996, pp 11–14.
Hunt, Ian: Art Monthly, ‘Simon Patterson: Lisson Gallery’, #195, Apr. 1996, pp 29–30.
Harris, Mark: Art in America, ‘Simon Patterson at Lisson’, July 1996, pp 96–7.
Dorment, Richard: The Daily Telegraph, ‘When ideas are child’s play’, 10 Apr. 1996, p 19.
A.S: Code Magazine, 'Simon Patterson at the Lisson', April, 1996.
Lovatt, Estelle: Southern Cross, 'Alexander & Susan Maris/Simon Patterson', 3 April, 1996.
Kafala, Samira: The London Magazine, 'Eye Openers', April 1996, p185.
Kent, Sarah: Time Out, ‘Simon Patterson - Lisson’, 3-10 Apr. 1996, p 49.
Tedman, Iona: Footloose Magazine, ‘Simon Patterson - Lisson Gallery’, #3, 27 Mar. 1996, p 5.
Garnett, Robert: Tate: The Art Magazine, ‘A frame of two halves’, #9, Summer, 1996, pp 42–7.
Higgie, Jennifer: Frieze, ‘Simon Patterson - Lisson Gallery, London’, #29, Jun/Jul/Aug, 1996, pp 67–8.
Pirman, Alenka: Napovednik, ‘Obcutek za red’, #19, 6–13 May 1996, p 90.
Nugent, Julie: What’s on North, 1996.
BBC Radio 4: Kaleidoscope, ‘Offside!’, 8 Jun, 1996.
Collins, Michael: The Daily Telegraph, ‘Games People Play’, 11 June 1996.
Stringer, Robin: The Evening Standard, ‘Photographs and technology vie for £20,000 Turner Prize’, 19 June 1996, p 19.
Packer, William: The Financial Times, ‘Runners line up for the Turner Prize’, 19 June 1996, p 15.
Daily Express, ‘An art exhibit that’s calculated to confuse’, 20 June 1996, p 24.
Daily Mail, ‘Men vie for Turner Prize’, 20 June 1996.
Glaister, Dan: The Guardian, ‘Turner shortlist fails to shock’, 20 June 1996, p 3.
Dorment, Richard: The Daily Telegraph, ‘A shockingly sensible choice’, 20 Jun, ‘96, p 12.
Lister, David: The Independent, ‘Boys’ own club occupies shortlist for the Turner Prize’, 20 June 1996, p 9.
Alberge, Dalya: The Times, ‘Tate excludes shock factor from Turner Prize’, 20 June 1996, p 9.
Express & Star Reporter: The Express & Star, ‘All male bid for Turner Prize’, 20 June 1996, p 35.
BBC2: Video Nation, ‘Offside’, June 1996.
Pitman, Joanna: The Sunday Times, ‘Hidden assets - rare combination of talents graces walls of law firm’, 23 Jun, ‘96.
Flash Art International (Flash Art News), ‘Manchester - An Artistic Look At Football’, Vol. XXIX, #189, Summer, 1996, p 73.
Haynes, Rob: The Big Issue in the North, ‘Offside’, 17–23 June 1996.
White, Maria: Arlis News–sheet, ‘Offside! Contemporary Artists and Football’, #120, May/Jun, 1996.
Graphics International: ‘Football Crazy’, June 1996.
Hamilton, Robert: City Life - Manchester, ‘Offside! Contemporary Artists and Football’, 20 June 1996.
Vogel, Carol: The New York Times, ‘Inside Art: London’, 28 June 1996.
Granada TV Sport: ‘Euro ‘96 snapshot’, 28 & 29 June 1996.
Glaister, Dan: The Guardian, ‘Artists create a Left Bank in the east of London’, 10 June 1996, p 3.
Art Monthly, 'Turner Prizewize', #198, July 1996, p19.
Cornwell, Jane: Sydney Morning Herald, ‘...and the Best of British’, 30 July 1996, p?
Cross, Andrew: Art Monthly, ‘Offside! Contemporary Artists and Football’, #198, Jul/Aug, 1996, pp 37–9.
The London Evening Standard: ‘Turner Prize for Tube map?’, 23 Jul, 1996, p 55.
Buck, Louisa: GQ (Gentleman’s Quarterly), ‘The Beautiful Game’, #86, Aug. 1996, p 48.
Patterson, Simon: The Guardian, ‘A brush with genius: Simon Patterson on Fischli & Weiss’s...’, 6 Aug, 1996, p 7.
Meridian TV: ‘Offside’, Sep, 1996.
Self, Will: New Statesman ,‘The Turner Prize’, Nov. 22, 1996.
Goal Magazine: ‘Offside!’, 1996.
Attitude Magazine: ‘Offside!’, 1996.
Contemporary Art: ‘Offside!’, 1996.
Total Football (catalogue Review): ‘Offside!’, 1996.
Football Italia Magazine: ‘Offside!’, 1996.
World Art: ‘Offside!’, Nov/Dec. 1996.
Collings, Matthew: Modern Painters, 1996, p?
Gibson, Jeff: Art + Text, ’Young British Artists’, #55, Oct. 1996, p 91.
Make: Womens Art Magazine, ‘The Turner Prize’, #72, Oct/Nov, 1996, pp 17–88.
Cork, Richard: The Sunday Times Magazine ‘ Playing to the gallery’, 19 Oct. 1996, pp 37–42.
Beckett, Andy: The Independent on Sunday, ‘Is there life after the dead cow?’, 27 Oct (& cover) 1996, pp 18–22.
Alberge, Dalya: The Times, ‘Turner contenders crave open mind as well as open eyes’, 29 Oct. 1996, p 5.
Searle, Adrian: The Guardian, ‘Bananas’, 29 Oct. 1996, pp 6–7.
Thoburn, Russell: Trash Magazine, Oct. 1996, p11.
Feaver, William: Observer Life, ‘Exhibition of the week’, 28 Oct. 1996, p 84.
Packer, William: The Financial Times, ‘Narrow Academy’, 29 Oct. 1996, p?
Lamb, Robert: Artists Newsletter, 'The Turner Prize effect', Nov., 1996.
Raybould, John: The Times, ‘Down the Tube’ (letter to the editor), 2 Nov. 1996, p 23.
Hensher, Philip: The Mail on Sunday (Reviews Gazette), ‘T he Turner Prize: Not all that bad, really’, 3 Nov. 1996, p?
Dorment, Richard: The Daily Telegraph, ‘How do you measure modern art?’, 6 Nov, 1996, p 21.
Graham–Dixon, Andrew: The Independent (tabloid), ‘Spreading the word’, 12 Nov. 1996, p4–5.
Robert, Alison: The Stafford NewsLetter, Nov. 1996, p?
Kent, Sarah: Time Out, (Preview), ‘Beauty Secrets–Sarah Kent on the Turner Prize’, #1370, 20–7 Nov. 1996, p 65.
Wittenberg, Dick: NRC Handelsblad, ‘Wij shocken niet, wij kietelen’, 22 Nov. 1996, p 4.
Marlow, Tim: Virgin Airways Inflight TV, ‘The Turner Prize’, Nov. 1996.
The Independent, 29 Nov, 1996.
The Guardian, 29 Nov, 1996.
The Evening Standard, 29 Nov, 1996.
The Times, 29 Nov, 1996.
Glaister, Dan: The Guardian, 6 Dec. 1996, p 1
Glaister, Dan: The Guardian, 9 Dec. 1996.
Collings, Matthew: Modern Painters, “Diary’, Winter, 1996, pp 63–4.
MacMillan, Ian: Modern Painters, ‘Bold with Beauty’, Winter, 1996, p 39.
Lister, David: Modern Painters, ‘Worry on Virginia ‘, Winter, 1996, p 15.
ES Magazine Dec. 1996, p?
Tate: The Art Magazine, 1997
Bredin, Lucinda: Artists Newsletter, ”Eye to Eye’, Jan. 1997, p16.
Gayford, Martin: Harpers & Queen, ‘Art Quake’, Jan. 1997, pp 102–5
Time Out, 1996, p?
Reynolds, Nigel: The Daily Telegraph, ‘Spotlight on the week’,13 Jan. 1997, p 32.
Alvarez, Maria:The Telegraph Magazine ,’The Minimalists’, 25 Jan. 1997, pp 6-7.
Ikeuchi, Tsutomu: Flash Art International, ‘City scape Tokyo’, Vol. XXX, # 192, Jan–Feb, 1997, p 58.
Greenberg, Sarah & Bevan, Roger: The Art Newspaper, ‘Babes in arms’, #67, Feb. 1997, pp 23–6.
Amram, Elisabeth: Technikart, ‘Et si le diable était anglais?’, #9, Feb, 1996, pp54–6.
Times, Metro Magazine, ‘Wallsall, Fantasy Football League’, Feb. 28 1997, p43.
Bevan, Roger: The Art Newspaper, 'Babes in Arms', #67, Feb. 1997, pp23–26.
Mayerová, Simona: Ateliér, ‘Turnerova cena 1996’, #3, 6 Feb. 1997, p 8 &15.
Bruthansová, Tereza: Ateliér, ‘Film, video, doba a umeni aneb O Turnerove cene a jinych londynskych událostech’, #3, 6 Feb. 1997, p 8 &15.
Turner, Jenny: Vogue, ‘Scientific sex appeal’, Apr. 1997, pp 40–3.
Elle Decor (Japan), 1997.
Yamamato, Yuko: Axis, ‘Up front: A mischievous humor’, May/June 1997, Vol. 67, pp 2–3.
Burton, Jane: The Express, ‘Material Culture’, 1 Apr. 1997.
Dorment, Richard: Daily Telegraph, ‘Hypnotic power of the object’, 23 Apr. 1997.
Gayford, Martin: The Spectator, ‘Poppet Green is alive and well’, 26 Apr. 1997, p 48.
Wilson, Andrew: Art Monthly, ‘Object Lesson’, #206, May 1997, pp 1–4.
Harris, Mark: Art Monthly, ‘Immaterial Culture’, #206, May 1997, pp 6–8.
Williams, Gilda: Art Monthly, ‘Irredeemable Skeletons’, #206, May 1997, pp 32–4.
The Art Newspaper, #70, May 1997, pp 15 & 43.
Gooding, Mel: Independent on Saturday Magazine, 24 May 1997, p 10–16.
Wiler Zeitung, ‘Western an der Museums–Wand “Wandzeichnungen” von Simon Patterson im Kunsthaus Zürich’, 16 May 1997, p 4.
Der Zürcher Oberländer, ‘Western an der Wand – Simon Patterson im Kunsthaus Zürich’, 17 May 1997, p 22.
Le Matin, ‘Expo: Wesrens Muraux’, 17 May 1997, p 15.
Von Däniken, Hans–Peter: Tages Anzeiger, ‘Gary Cooper und Henry Fonda in Grautönen’ 17 May, 1997, p 57.
Anzeiger von Uster, ‘Western an der Wand – Simon Patterson im Kunsthaus Zürich’, 17 May 1997, p 22.
Lang, Guy: Blick, ‘High Noon im Kunsthaus’, 20 May 1997, p17.
Affentranger–Kirchrath, Angelika: Neue Zürcher Zeitung, ‘Dauereinrichtung auf Zeit – Simon Patterson im Kunsthaus Zürich’, 27 May 1997, p 50.
Tagblatt der Stadt Zürich, ‘Wildre Westen an der Wand’, 27 May 1997, p13.
Slyce, John: Flash Art, 'Material Culture; the Object in British Art, at the Hayward Gallery', #75, Summer, 1997.
Collings, Matthew: The Independent on Sunday, 'The New Establishment', 31 Aug, 1997, pp9–14.
Rondi, Joëlle: Art Presse, ‘British Spring: Divers Lieux’, #255, June 1997, p 72.
Araki,Natsumi: Bijutsu Techo, ‘Simon Patterson: Roentgen Kunstraum’, July, 1997, pp 154-–5.
Barrett, David: Art/Text, ‘Material Culture’, #58 Aug-Oct, 1997, pp100–101.
Nathan, Martin: East Anglian Daily Times, ‘Jesus saves, Judas plays center –half’, 8 Aug. 1997.
The Guardian, 19 Aug. 1997.
Toghazzini, Anthony: Prague Post, ‘Simon Patterson at Gandy Gallery’, 21? Oct. 1997, p?
Green David: Contemporary Visual Arts, ‘Bringing it all back home’, issue 16, 1997, pp54–60.
Kearton, Nicola: Art and Design, ‘Material Culture’, Vol. 12, #7/8, July/August, 1997, pp2–3.
Lane, Harriet:The Observer: Observer Life magazine, ‘Postcards from the cutting edge’, 23 November, ‘97, pp10–16.
Arnot, Chris: The Guardian, ‘Score draw’, 9 Feb. 1998, p 13.
Jansson, Peder: Index, ‘Dimensions Variable: New works from the British Council Collection’, #21, Jan. 1998, pp 86 -7.
The Times (Metro), 28 February, 1998, p43.
Garnett, Robert: Art Monthly, ‘Fantasy Football Art League’, #215, April 1998, pp32–4.
BBC TV Northern Ireland, ‘What’ s on –Tracings at Ormeau Baths Gallery’, 26 March 1998.
Musgrave, David: Art Monthly, ‘A to Z’, #216, May 1998, pp 29–-30.
Musgrave, David: Art Monthly, ‘North and South’, #217, June 1998, pp 22-23.
Musgrave, David: Art Monthly, ‘Then and Now’, #219, Sept. 1998, pp 29-30.
Garnett, Robert: Art Monthly, ‘Fantasy Football Art League’, #215, Apr. 1998, pp 32–34.
JH: d’Letzburger Land, ‘Figuration/aliénation’, No. 26, June 26, 1998.
Lorgé, Marie–Anne: le Jeudi, ‘Kettle Blue’, Sept. 3, 1998, p26.
Plagens, Peter: Art in America, ‘Bully for the Brits’, pp 37–9, June 1998.
BBC2, ‘The Secret Art of Government’, (first broadcast 13 June 1998).
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