Index
 

Tony Cokes

*1956, Richmond, VA, USA
Lives and works in Providence, RI, USA

Media

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Paris Internationale 2022, FELIX GAUDLITZ presenting Tony Cokes and Valentina Triet, Installation view

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Paris Internationale, 2022, FELIX GAUDLITZ presenting Tony Cokes and Valentina Triet, Installation view

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Tony Cokes, Free Britney?, 2022, HD video, color, sound, 40:53 min., Ed. 4/5 + 2AP
Paris Internationale, 2022, FELIX GAUDLITZ presenting Tony Cokes and Valentina Triet, Installation view

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Tony Cokes, Fragments, or just Moments, Installation view, Haus der Kunst, 2022
Photo: Maximilian Geuter

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Tony Cokes, Fragments, or just Moments, Installation view, Haus der Kunst, 2022
Photo: Maximilian Geuter

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Tony Cokes, Fragments, or just Moments, Installation view, Haus der Kunst, 2022
Photo: Maximilian Geuter

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Tony Cokes, Fragments, or just Moments, Installation view, Haus der Kunst, 2022
Photo: Maximilian Geuter

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Tony Cokes, Fragments, or just Moments, Installation view, Haus der Kunst, 2022
Photo: Maximilian Geuter

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Tony Cokes, Fragments, or just Moments, Installation view, Kunstverein München, 2022. A collaborative project with Haus der Kunst, Munich
Photo: Max Geuter.

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Tony Cokes, Fragments, or just Moments, Installation view, Kunstverein München, 2022. A collaborative project with Haus der Kunst, Munich
Photo: Max Geuter.

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Tony Cokes, Fragments, or just Moments, Installation view, Kunstverein München, 2022. A collaborative project with Haus der Kunst, Munich
Photo: Max Geuter.

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Tony Cokes, Fragments, or just Moments, Installation view, Kunstverein München, 2022. A collaborative project with Haus der Kunst, Munich
Photo: Max Geuter

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Tony Cokes, Fragments, or just Moments, Installation view, Kunstverein München, 2022. A collaborative project with Haus der Kunst, Munich
Photo: Max Geuter

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Tony Cokes, Fragments, or just Moments, Installation view, Kunstverein München, 2022. A collaborative project with Haus der Kunst, Munich
Photo: Max Geuter

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Tony Cokes, Fragments, or just Moments, Installation view, Kunstverein München, 2022. A collaborative project with Haus der Kunst, Munich
Photo: Max Geuter

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Tony Cokes, Fragments, or just Moments, Installation view, Kunstverein München, 2022. A collaborative project with Haus der Kunst, Munich
Photo: Max Geuter

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Tony Cokes, Fragments, or just Moments, Installation view, Kunstverein München, 2022. A collaborative project with Haus der Kunst, Munich
Photo: Max Geuter

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Tony Cokes, Fragments, or just Moments, Installation view, Kunstverein München, 2022. A collaborative project with Haus der Kunst, Munich
Photo: Max Geuter

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Tony Cokes, Some Munich Moments 1937–1972, 2022, Installation view, Tony Cokes, Fragments, or just Moments, underpass between Kunstverein München and Haus der Kunst, 2022. A collaborative project between Kunstverein München and Haus der Kunst, Munich
Photo: Max Geuter

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Tony Cokes, Some Munich Moments 1937–1972, 2022, Installation view, Tony Cokes, Fragments, or just Moments, underpass between Kunstverein München and Haus der Kunst, 2022. A collaborative project between Kunstverein München and Haus der Kunst, Munich
Photo: Max Geuter

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Tony Cokes, Some Munich Moments 1937–1972, 2022, Installation view, Tony Cokes, Fragments, or just Moments, U.S. Embassy Munich 2022. A collaborative project between Kunstverein München and Haus der Kunst, Munich
Photo: Max Geuter

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Tony Cokes, Mourning is a Political Act..., 2021, HD video, color, sound, 2:30 minutes, Installation view, Whitney Biennial 2022: Quiet as It’s Kept, Whitney Museum of American Art, New York, 2022
Photo: Ron Amstutz

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Tony Cokes, Mourning is a Political Act..., 2021, HD video, color, sound, 2:30 minutes, Installation view, Whitney Biennial 2022: Quiet as It’s Kept, Whitney Museum of American Art, New York, 2022
Photo: Ron Amstutz

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Tony Cokes, Whitney Biennial 2022: Quiet as It’s Kept, Installation view, Whitney Museum of American Art, New York, 2022
Photo: Zeshan Ahmed

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Tony Cokes, Whitney Biennial 2022: Quiet as It’s Kept, Installation view, Whitney Museum of American Art, New York, 2022
Photo: Zeshan Ahmed

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Tony Cokes, Whitney Biennial 2022: Quiet as It’s Kept, Installation view, Whitney Museum of American Art, New York, 2022
Photo: Zeshan Ahmed

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Tony Cokes, Whitney Biennial 2022: Quiet as It’s Kept, Installation view, Whitney Museum of American Art, New York, 2022
Photo: Zeshan Ahmed

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Tony Cokes, Whitney Biennial 2022: Quiet as It’s Kept, Installation view, Whitney Museum of American Art, New York, 2022
Photo: Zeshan Ahmed

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Tony Cokes, Evil.81: Is This Amrkkka?: DJ Joe Nice Speaks, 2021, Installation view, ajh.pm, Bielefeld
Photo: Ines Könitz

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Tony Cokes, Evil.81: Is This Amrkkka?: DJ Joe Nice Speaks, 2021, Installation view, ajh.pm, Bielefeld
Photo: Ines Könitz

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Tony Cokes, Evil.81: Is This Amrkkka?: DJ Joe Nice Speaks, 2021, Installation view, ajh.pm, Bielefeld
Photo: Ines Könitz

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Tony Cokes, Evil.81: Is This Amrkkka?: DJ Joe Nice Speaks, 2021, Installation view, ajh.pm, Bielefeld
Photo: Ines Könitz

fig. 702

Tony Cokes, SM BNGRZ 1, 2021, HD Video, 23:52 min., Ed. 5 + 2 AP, Installation view, FELIX GAUDLITZ, Vienna

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Tony Cokes, SM BNGRZ 1, 2021, HD Video, 23:52 min., Ed. 5 + 2 AP, ​​​​​Installation view, FELIX GAUDLITZ, Vienna

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Tony Cokes, SM BNGRZ, 2021, Installation view, FELIX GAUDLITZ, Vienna

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Tony Cokes, SM BNGRZ 2, 2021, HD Video, 21:40 min., Ed. 5 + 2 AP, Installation view, FELIX GAUDLITZ, Vienna

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Tony Cokes, SM BNGRZ 2, 2021, HD Video, 21:40 min., Ed. 5 + 2 AP, Installation view, FELIX GAUDLITZ, Vienna

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Tony Cokes, SM BNGRZ 2, 2021, HD Video, 21:40 min., Ed. 5 + 2 AP, Installation view, FELIX GAUDLITZ, Vienna

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Tony Cokes, SM BNGRZ 2, 2021, HD Video, 21:40 min., Ed. 5 + 2 AP, Installation view, FELIX GAUDLITZ, Vienna

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Tony Cokes, SM BNGRZ 2, 2021, HD Video, 21:40 min., Ed. 5 + 2 AP
​​​​​​​Installation view, FELIX GAUDLITZ, Vienna

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Tony Cokes, SM BNGRZ, 2021, Installation view, FELIX GAUDLITZ, Vienna

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Tony Cokes, SM BNGRZ, 2021, Installation view, FELIX GAUDLITZ, Vienna

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Tony Cokes, SM BNGRZ, 2021, Installation view, FELIX GAUDLITZ, Vienna

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Tony Cokes, SM BNGRZ, 2021, Installation view, FELIX GAUDLITZ, Vienna

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Tony Cokes, SM BNGRZ 2 (madness, absolute madness.), 2021, Custom-made LED lightbox, digital print on acrylic, 60 × 40 × 5,5 cm (23.622 × 15.748 × 2.165 in), Ed. 3 + 2 AP, Installation view, FELIX GAUDLITZ, Vienna

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Tony Cokes, SM BNGRZ 2 (Silence everything awful.), 2021, Custom-made LED lightbox, digital print on acrylic, 60 × 40 × 5,5 cm (23.622 × 15.748 × 2.165 in), Ed. 3 + 2 AP, Installation view, FELIX GAUDLITZ, Vienna

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Tony Cokes, SM BNGRZ 1 (We won't stop living this way.), 2021, Custom-made LED lightbox, digital print on acrylic, 60 × 40 × 5,5 cm (23.622 × 15.748 × 2.165 in), Ed. 3 + 2 AP, Installation view, FELIX GAUDLITZ, Vienna

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Tony Cokes, SM BNGRZ 3, 2021, HD Video, 15:53 min., Ed. 5 + 2 AP, Installation view, FELIX GAUDLITZ, Vienna

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Tony Cokes, SM BNGRZ 3, 2021, HD Video, 15:53 min., Ed. 5 + 2 AP, Installation view, FELIX GAUDLITZ, Vienna

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Tony Cokes, SM BNGRZ 3, 2021, HD Video, 15:53 min., Ed. 5 + 2 AP, Installation view, FELIX GAUDLITZ, Vienna

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Tony Cokes, 3# (London is dead. New York is dead.), 2021, Custom-made LED lightbox, digital print on acrylic, 60 × 40 × 5,5 cm (23.622 × 15.748 × 2.165 in), Ed. 3 + 2 AP, Installation view, FELIX GAUDLITZ, Vienna

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Tony Cokes, This isn’t Theory. This is History, Installation view, SOLO/MULTI, Museum for Preventive Imagination, MACRO 2021
Photo: Simon d'Exéa

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Tony Cokes, This isn’t Theory. This is History, Installation view, SOLO/MULTI, Museum for Preventive Imagination, MACRO 2021
Photo: Simon d'Exéa

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Tony Cokes, This isn’t Theory. This is History, Installation view, SOLO/MULTI, Museum for Preventive Imagination, MACRO 2021
Photo: Simon d'Exéa

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Tony Cokes, This isn’t Theory. This is History, Billboards, Rome, July-August 2021, Museum for Preventive Imagination, MACRO, 2021
Photo: Kobo Roma

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Tony Cokes, This isn’t Theory. This is History, Billboards, Rome, July-August 2021, Museum for Preventive Imagination, MACRO, 2021
Photo: Kobo Roma

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Tony Cokes, This isn’t Theory. This is History, Billboards, Rome, July-August 2021, Museum for Preventive Imagination, MACRO, 2021
Photo: Kobo Roma

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Tony Cokes, 4 Voices / 4 Weeks, Installation view, CIRCA, Piccadilly Circus, London, 2021
Photo: Melanie Issaka

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Tony Cokes, Collision/Coalition, Installation view, The Shed, New York, 2019
Photo: Lily Wan

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Tony Cokes, Mikrohaus, or the black Atlantic, 2006-2008, Installation view, Goldsmiths CCA
Photo: Andy Stagg

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Tony Cokes, Testament A: MF FVA K-P X KE RIP, 2019, Installation view, Goldsmiths CCA, Commissioned by Goldsmiths Centre for Contemporary Art, London, UK
Photo: Andy Stagg

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Tony Cokes, The Morrissey Problem, 2019, Installation view, Goldsmiths CCA, Commissioned by Goldsmiths Centre for Contemporary Art, London, UK, Carpenter Center for the Visual Arts, Harvard, US and ARGOS centre for audiovisual arts, Brussels, BE
Photo: Andy Stagg

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Tony Cokes, If UR Reading This It's 2 Late: Vol. 1, Installation view, Goldsmiths CCA, 2019
Photo: Andy Stagg

CV

Education

1985
MFA, Sculpture, Virginia Commonwealth University, US

1983 – 84
Whitney Museum Independent Study Program, Studio Program in Video, US

1979
BA, Photography and Creative Writing, Goddard College, US


Solo exhibitions and screenings

2022
On Clubbing, Mourning, and Critique, Greene Naftali, New York, US
Fragments, or just Moments, Haus der Kunst and Kunstverein München, Munich, DE
Evil.81: Is This Amrkkka?: DJ Joe Nice Speaks, ajh.pm, Bielefeld, DE
The Will & The Way... Fragments 1 and 2, Hyundai Card Video Views, The Museum of Modern Art, New York (screening)

2021
SM BNGRZ, FELIX GAUDLITZ, Vienna, AT
Tony Cokes: Market of the Senses, curated by Almudena Escobar López, Memorial Art Gallery, University of Rochester, Rochester, New York, US
Evil. 80.Empathy?, Hannah Hoffman Gallery, Los Angeles, US
This isn’t theory. This is history., curated by Luca LoPinto, MACRO Contemporary Art Museum, Rome, IT
4 Voices / 4 Weeks, CIRCA, London, UK

2020
Tony Cokes: Music, Text, Politics, curated by Anna Cerdà Callís, Museu d’Art Contemporani de Barcelona, Barcelona, ES
If UR Reading this It’s 2 Late: Vol 3, ARGOS centre for audiovisual arts, Brussels, BE
Tony Cokes: Five Weeks, organized by Dr. Katie Geha, Dodd Galleries, Lamar Dodd School of Art, University of Georgia, Athens, Georgia, US
Black Celebration, Hammer Museum, University of California, Los Angeles, and Dia Art Foundation, New York, US (screening)
Could you visit me in dreams?, Gabi+, Vienna, AT
To Live as Equals, curated by Thiago de Paula Souza, BAK – basis voor actuele kunst, Utrecht, NL
If UR Reading this It’s 2 Late: Vol 2, Carpenter Center for Visual Arts, Cambridge, Massachusetts, US

2019
Before and After the Studio: Volume II, curated by Fredi Fischli and Niels Olsen, Luma Westbau, Zürich, CH
Tony Cokes: Non-Visibility, Kunsthistorisches Institut in Florenz, Max-Planck-Institut, Florence, IT
The Power of Music, Charlottenborg Art Cinema, Kunsthal Charlottenborg, Copenhagen, DK (screening)
Evil.27: Selma, Atlanta Contemporary, Atlanta, US
Tony Cokes and Oscar Murillo, The Shed, New York, US
If UR Reading this It’s 2 Late: Vol 1, Goldsmiths Centre for Contemporary Art, London, UK
Sound Systems, Tate Modern Cinema Program, Tate Modern, London, UK (exh. pamph.)
Della’s House, Hannah Hoffman Gallery, Los Angeles, US

2018
Evil, Mediation, and Power, Bergen Kunsthall, Bergen, NO
On Non-Visibility, Greene Naftali, New York, US
Karmaklubb Presents Tony Cokes, Kunstnernes Hus, Oslo, NO

2012
Tony Cokes: Retro (Pop, Terror, Critique), REDCAT, Los Angeles, US

2011
Tony Cokes: Notes on Evil (and Others), Gene Siskel Film Center, School of the Art Institute, Chicago, US

2009
4 Projects / 2 Collaborations, Getty Research Institute Scholar Common Room, Los Angeles, US (video and audio installations)

2007
Videos in Progress – Tony Cokes: Evil. 6, RISD Museum of Art, Providence, US
Evil Series, ArtCite Media City, Windsor, ON, CA (video installation)
Pause, Fleckstein Video Gallery, Flint Institute of Arts, Flint, US

2006
Pop Manifestos, Images Festival, Gallery 44 Centre for Contemporary Photography, Toronto, CA (video installation)
1! Images Festival, Gladstone Hotel, Art Bar, Toronto, CA (video and audio installation)

2005
Pop Manifestos Visible Sound and Image for the Ear, Seoul Film & Net Festival, Samsung Media Lounge, Dansungsa, Seoul, KR (video and audio installation)
Pop Manifestos, MuHKA, Antwerp, BE (video and audio installation)
Pop Manifestos, MurMur. Rotterdam International Film Festival, TENT, Rotterdam, NL (video and audio installation)

2003
Tony Cokes / Steel Stillman, Momenta Art, Brooklyn, US
Shrink2b.demo, Rotterdam International Film Festival, Centrum Beeldende Kunst, Rotterdam, NL (video installation)

2001
AD Vice, Melkweg, New Media Room, Amsterdam, NL (screening)

1999
Why Pop?, Boston Cyberarts Festival, Boston, US

1996
Tony Cokes: A Video Retrospective, DeCordova Museum and Sculpture Park, Lincoln, Massachusetts, US
Black History: Tony Cokes, STUK, Leuven, BE

1995
NO SELL OUT…(Malcolm X Pt. 2), Knight Gallery, Spirit Square Center for Arts and Education, Charlotte, US (with X-PRZ)

1994
just bcuz ur PARANOID…(Remix), 7th Berlin Videofest, Berlin, DE (with X-PRZ)

1993
JST BCUZ UR PARANOID…(Malcolm X Pt. 1), Alternative Museum, New York, US (with X-PRZ)

1992
Atlanta Third World Video Festival, Atlanta, US

1991
Word 2 My Mother, The Museum of Modern Art, New York, US (multimedia installation)
DELAY/ENJOY (the invisible generation), Donnell Media Center, New York Public Library, New York, US (video installation)
2 Videos, New Langton Arts, San Francisco, US
he Revolution Will Be Televised: Videoworks by Tony Cokes, Pacific Film Archive, University of California, Berkeley, US (screening)

1990
Capital, It Fails Us Now (Credit), Art In General, New York, US (audio installation)

1985
Positions/ Oppositions (In The Culture Factory), Virginia Commonwealth University, Anderson Gallery, Richmond, US (multimedia installation)


Group exhibitions and screenings

2022
The 58th Carnegie International: Is it morning for you yet?, curated by Sohrab Mohebbi, Carnegie Museum of Art, Pittsburgh, PA, US (catalogue)
off-kilter, curated by Bob Linder, Michael Benevento, Los Angeles, CA, US
Oh, Gods of Dust and Rainbows, FRONT International: Cleveland Triennial for Contemporary Art, curated by Prem Krishnamurthy and Tina Kukielski, Cleveland, OH, US
Whitney Biennial 2022: Quiet as It’s Kept, curated by Adrienne Edwards and David Breslin, Whitney Museum of American Art, New York, NY, USA (catalogue)
Faz escuro mas eu canto – 34th São Paulo Biennial Tour, Casa do Maranhão, São Luís, Brazil; traveled to Palácio das Artes, Belo Horizonte, Brazil; traveling to Museo de Arte de Río, Rio de Janeiro, BR
Word Films: Media + Language, Anthology Film Archives, New York, US (screening)
SM BNGRZ. 01–03, organized by Karmaklubb* & Friends, Oslo Pride at Munch: Festivity Amour, Munch Museum, Oslo, NO (screening)
Do Nothing. Feel Everything., curated by Laura Amann and Aziza Harmel, Kunsthalle Bratislava, Bratislava, SK (exh. pamph.)
Warhol, People and Things, curated by Alaina Claire Feldman and Barbara Piwowarska, Casa São Roque Centro de Arte, Porto, PT
TECHNO WORLDS, organized by Goethe-Institute, Centre PHI, Goethe-Institut Montreal, and Société des arts technologiques, Montreal, CN (catalogue)
I’d hammer out danger, I’d hammer out a warning, curated by Steven Evans, Max Fields, and Amy Sadao, FotoFest, Silver Street Studios, Houston, TX, US (screening)
Black Audio Film Collective and Tony Cokes, curated by Nick Aikens, Netwerk Aalst, Aalst, BE (screening)
The Whole Life: Archives & Imaginaries, House of the World’s Cultures (HKW), Berlin, DE
Working Thought, curated by Eric Crosby, Carnegie Museum of Art, Pittsburgh, PA, US (catalogue)
Candidates for Humanity, curated by Gavin Mottram, Jorge Ravelo and SNEAL, Film at REDCAT, Los Angeles, CA, US (screening)
This Tender, Fragile Thing, Jack Shainman: The School, Kinderhook, New York, NY, US

2021
Family Album: Dannielle Bowman, Janna Ireland, and Contemporary Works from LACMA, Charles White Elementary School Gallery, Los Angeles County Museum of Art, Los Angeles, US
VIDEONALE.scope #9, curated by Viktor Neumann, Filmhaus Köln, Filmforum im Museum Ludwig, and Lichtspiele Kalk, Cologne, DE (screening)
Do Nothing. Feel Everything., curated by Laura Amann and Aziza Harmel, Kunsthalle Wien Karlsplatz, Vienna, US (exh. pamph.)Grand Prototypes, Humble Tools, FRONT International: Cleveland Triennial for Contemporary Art Preview Exhibition, Transformer Station, Cleveland, US
YOU GOT TO GET IN TO GET OUT: El continuo sonoro que nunca se acaba, curated by Sonia Fernández Pan and Carolina Jiménez, La Casa Encendida, Madrid, ES (catalogue)
Faz escuro mas eu canto [Though it’s dark, still I sing], curated by Ruth Estevez, 34th São Paulo Biennial, São Paulo, BR (catalogue)
Notes on Black Video: 1987 – 2001, Video Data Bank, School of the Art Institute of Chicago, US (screening)
Techno Worlds, curated by Mathilde Weh and Justin Hoffmann, Art Quarter, Budapest, Hungary, US (catalogue)
No Place Like Home, Greene Naftali, New York, US
PROTEST, Video Data Bank, School of the Art Institute of Chicago, US (screening)
Greene Naftali East Hampton, East Hampton, New York, US
Oval Office, curated by Petra Poelzl, Neue Galerie der Tiroler Künstlerschaft, Innsbruck, AT
Governmental Fires, curated by Cédric Fauq, Centre for Contemporary Art Futura, Prague, CZ
K as in knight, Helena Anrather, New York, US
From Disco to Disco, Greene Naftali, New York, US

2020
Fire and Ice: A Benefit Exhibition in Three Parts, curated by Wade Guyton and Jacqueline Humphries, The Kitchen, New York, US
Glitched Narratives, organized by Legacy Russell and Hana Noorali, TRANSMISSIONS.TV, London, UK (screening)
Spaces of No Control, curated by Walter Seidl, Austrian Cultural Forum, New York, US (catalogue)
Worlds Without End, Hugh Lane Gallery, Dublin, IR
States of Mind: Art and American Democracy, curated by Ylinka Barotto, Moody Center for the Arts, Rice University, Houston, US
In Focus: Statements, curated by Jannie Haagemann, Copenhagen Contemporary, Copenhagen, DK
Image Power: Institutional Critique Today, curated by Melanie Buhler, Frans Hals Museum, Haarlem, NL
It’s Only A Matter of Time, ARCO Madrid, Madrid, ES

2019
Clipping the Din, curated by Daniel Baumann, Kathrin Bentele and Matthew Hanson, Krinzinger Projekte, Vienna, AT
Theater of Operations: The Gulf Wars 1991-2011, organized by Peter Eleey and Ruba Katrib, MoMA PS1, Long Island City, US
Direct Message, curated by Grace Deveney, Museum of Contemporary Art Chicago, Chicago, US
Museum, Museum Für Moderne Kunst, Frankfurt, DE
Great Force, curated by Amber Esseiva, ICA at VCU, Richmond, US
Searching the Sky for Rain, curated by Sohrab Mohebbi, Sculpture Center, Long Island City, US
Mixing Plant, Ruhrtriennale, Essen, DE
It’s Urgent!, curated by Hans Ulrich Obrist, Kunsthal Charlottenborg, Copenhagen, DK
Call & Response, Stamps Gallery, Ann Arbor, US
Celebration of Our Enemies: Selections from the Hammer Contemporary Collection, Hammer Museum, Los Angeles, US
Uncertainty Seminars: Not Getting It, Stroom Den Haag, The Hague, NL (screening)
Adventure Capitalists, organized by Matthew Hanson and Kathrin Bentele, Kunsthalle Zurich, Zurich, CH (screening)
The Night Face Up, Art Gallery of Contemporary Art Bunker, Kraków, PL
Straying from the line, Schinkel Pavillion, Berlin, DE
Amulet or He calls it chaos, organized by Bob Linder and Diego Villalobos, The 500 Capp Street Foundation, San Francisco, US
Intonal Festival, Moderna Museet Malmö, SE
HEREAFTER – An Exhibition in Three Acts, Stedelijk Museum, Amsterdam, NL
Revolution from Without…, The 8th Floor Gallery, New York, US
Hate Speech. Aggression and Intimacy, Künstlerhaus. Halle für Kunst & Medien, Graz, AT

2018
Niepodległe. Women and National Discourse, Museum of Modern Art, Warsaw, PL
Signal or Noise | The Photographic II, S.M.A.K., Gent, BE
Could you visit me in dreams?, curated by Attilia Fattori Franchini, Galerie Halgand, Vienna, AT
The Phantom of Liberty: Contemporary Works in the RISD Museum Collection, RISD Museum, Providence, US
We don’t need another hero, curated by Gabi Ngcobo, Berlin Biennale, Berlin, DE
Broadcasting at EAI, curated by Dorothy, Stephen R. Weber, Alex Klein, Rebecca Cleman, Institute of Contemporary Art, Philadelphia, US

2017
Spectres of Communism, Haus der Kunst, Munich, DE
Buried in the Mix, curated by Bhavisha Panchia, MEWO Kunsthalle, Memmingen, DE

2016
what is left of what has left, Hessel Museum, Bard College, Annandaleon-Hudson, New York, US

2015
Music for Museums, Whitechapel Gallery, London, UK
PUNK: Its Traces in Contemporary Art, CA2M, Madrid, ES
This is Not a Love Song, Pera Museum, Istanbul, TR

2012
First Among Equals, Institute of Contemporary Art, Philadelphia, US
RE: MADE, National Museum of Contemporary Art, Bucharest, RO

2011
Brick + Mortar International Video Festival, Greenefield, US
Exchange and Evolution: Worldwide Video Long Beach 1974-1999, Long Beach Museum of Art, Long Beach, US
Made in the UK: Contemporary Art from the Richard Brown Baker Collection, RISD Museum of Art, Providence, US

2010
Old Media Season: Time Crisis, Arnolfini Gallery, Bristol, UK
Rules of Evidence: Evil. 13: Alternate Versions, 1st Berlin Documentary Forum, House of Cultures, Berlin, DE
Video on the Loose: Freewaves and 20 Years of Media Arts, Los Angeles County Museum of Art, Los Angeles, US
Long Play: Bruce Conner and the Singles Collection, San Francisco Museum of Modern Art, San Francisco, US
Break Even Concept Store, Rotterdam International Film Festival, Rotterdam, NL

2010
Video Dada, Art Gallery, University of California, Irvine, US

2009
Stedelijk Goes To Town, Stedelijk Museum Construction Cabin, Amsterdam, NL
Marfa Book Co. Monday Movies: Program 7, Marfa, US
Art Papers: Annual Benefit Auction, Atlanta, US
Recontres Internationales Madrid, Museo Reina Sofia, Madrid, ES
Our Literal Speed 2, University of Chicago, Chicago, US

2008
Happy Together, An American Dream, Centre d‘Art Bastille, Grenoble, France, FR
Freeze Frame, Rush Arts, Scope Miami; traveled to Talman + Monroe Gallery, Brooklyn; traveled to Blank Projects, Cape Town
Cross Roads: Rock My Religion, Domus Artium, Salamanca, ES
Puissances Critiques des Images, Louvre Museum, Paris, FR
Rencontres Internationale Paris-Berlin, roARaTorio transmédia, Jeu de Paume, Paris, FR
Haus der Kulturen der Welt, Berlin, DE
Rencontres Internationale Madrid, Círculo de Bellas Artes, Madrid, ES
Our Literal Speed, ZKM Center for Art and Media, Karlsruhe, DE
Start as you will go on: Contemporary Video Art Pt. 3, Museum of London, London, UK
Text and Video, Axiom Gallery, Boston, US
Video Grab Bag, University of Maryland Gallery, College Park, Maryland, US
Pop! Goes the weasel, Badischer Kunstverein, Karlsruhe, DE
High Resolution, Artists Projects at The Armory: Soundtracks, Seventh Avenue Armory, New York, US
That Reminds Me of Something, VTape, Toronto, CA
The Music of Events: Avant-Garde et Pop-Culture, La Cinémathèque Française, Paris, FR

2007
The Leisure Class, Queensland Gallery of Modern Art, Brisbane, AU
Artcite, Media City 13, Windsor, CA
War, Documentary and Iraq, Whitney Humanities Center, Yale University, New Haven, US
Presencias Del Cuerpo: Aspectos del género y la representación del cuerpo en el audiovisual contemporáneo, Es Baluard, Palma de Mallorca, ES
Post Painterly Attraction, NETWERK / Center for Contemporary Art, Aalst, BE
Pixilerations Festival, RISD / Brown University, Providence, US
New Video Library, Momenta Art, Brooklyn, US
Rencontres Internationales Madrid, Círculo de Bellas Artes, Madrid, ES
Selected Works from Aspect Magazine, Boston Cyberarts Festival, Axiom Gallery, Boston, US
Faculty Exhibition, David Winton Bell Gallery, Brown University, Providence, US

2006
Audio Relay, curated by Rosanne Altstatt, 527 Main Street, Purdue University, Lafayette, US

2005
Wer Visionen hat soll zum Arzt gehen: 25 Years at GAK, Gesellschaft für Aktuelle Kunst, Bremen, DE
Mix, Temple Gallery, Tyler School of Art, Philadelphia, US
Tijdelijk Onbewoonbaar Verklaard: Tony Cokes vs. Doghotel, Cloth Hall, Ypres, BE
Pop Up!, Museum of Contemporary Art, Lyon, FR

2004
American Landscapes: Discordant Views, PBICA, Palm Beach, US
Common Property, 6th Werkleitz Biennial, Halle, DE
Display 2004, Kforumvienna (Tog Up - 7Sterngasse), Vienna, AT
Video Hits, Queensland Art Gallery, Brisbane, AU (catalogue)
Video X: A Decade of Video, Momenta Art, Brooklyn, US

2003
Homeland, (4-Person Show) Sawhill Gallery, James Madison University, Harrisonburg, US
Faculty Exhibition, David Winton Bell Gallery, Brown University, Providence, US
Ameri©an Dre@m: A Screening, Ronald Feldman Gallery, New York, US
Art In Motion IV Festival, Bank Gallery, Los Angeles, US
Stunt, Tennis Palace Art Museum, Helsinki, FI
Veni Vidi Video, Studio Museum in Harlem, New York, US

2002
Make Way for Tomorrow, The Museum of Modern Art, New York, US
Music/Video. Musée dArt Moderne et Contemporain, Strasbourg, FR
911+1: The Perplexities of Security, curated by Thomas Y. Levin, Watson Institute for International Studies, Brown University, Providence, Rhode Island, US
(slowing down and) Deconstructing the Moment, Rhode Island Foundation Gallery, Providence, Rhode Island, US
The Music in ME Ch.1, Gesellschaft für Aktuelle Kunst, Bremen, DE
Better Worlds, Agnes Etherington Art Centre, Queens University, Kingston, CA (catalogue)
New and Historical Artists’ Video from the EAI Collection, Spring 2002, Dan Graham Rooftop Video Salon, Dia Center for the Arts, New York, US
Good Vibes: Political Resistance and Musical Subculture, MACBA, Barcelona, ES
Whitney Biennial, Whitney Museum of American Art, New York, US
Race In Digital Space (X-PrZ), Studio Museum in Harlem, New York, Spellman College, Atlanta, US

2001
Take Two: Contemporary Work by 13 International Artists, Ottawa Art Gallery, Ottawa, CA
New and Historical Artists’ Video from the EAI Collection, Spring 2001, Dan Graham Rooftop Video Salon, Dia Center for the Arts, New York, US
.ORG, Coolidge Corner Theater, Brookline, US
Take Two Reprise, Ottawa Art Gallery, Ottawa, CA

2000
Video Time, The Museum of Modern Art, New York, US
L.A. Freewaves Media Festival, Los Angeles, US
EAI Presents: 6 Videotapes, The Digital Video Wall, Rockefeller Center, New York, US
Faculty Exhibition, David Winton Bell Gallery, Brown University, Providence, US

1998
Infinite Facets of Moment: Artist Video & Documentary Film, Institute for Research on the African Diaspora in the Americas and the Caribbean, C.U.N.Y., New York, US
Reversal to Digital: Third World Newsreel at 30, Museum of Modern Art, New York, US

1997
Video Art: The First 25 Years, organized by The Museum of Modern Art and the AFA, Williamson Gallery, Art Center, Pasadena, US
BEWARE: In playing the phantom, you become one, Centre Georges Pompidou, Paris, France; Documenta X, Kassel, DE
Rooms With A View: Environments for Video, Guggenheim Museum Soho, New York, US
Re-Invented Realities, Rush Arts, New York, US

1994
This Body, This Soul, This Brick, These Years: Disorder Today, curated by Bill Horrigan, American Center, Paris, FR
Videotheque: Video Text, Walker Art Center, Minneapolis, US
Dan Graham: Three Linked Cubes/Interior Design for Space Showing Videos, 1986, Whitney Museum of American Art, New York, US

1993
markets of resistance, White Columns, New York, US
Malcolm X: Man, Ideal, Icon, Walker Art Center, Minneapolis, US
Film-makers’ Cooperative: Thirty Years of Artist Cinema, The Museum of Modern Art, New York, US
You Have to Pay for the Public Life, The Center for Photography at Woodstock, Woodstock, US
11 Artists/11 Visions, DeCordova Museum and Sculpture Park, Lincoln, US

1992
HerStories in Color (Curator; Essayist), Artists Space, New York, US
The Power of the City/The City of Power, Whitney Museum of American Art - Downtown Branch, New York, US (catalogue)
New Works ‘91 (The Exploding Valentine), The Kitchen, New York, US

1991
Black Men in America: Changing Reality? L.A.C.E., Los Angeles, US
Implosion Now, Howard Yezerski Gallery, Boston, US
Whitney Biennial, Whitney Museum of American Art, New York, US
Counter-Media, Key Gallery, Richmond, US
New Works ‘90/New World ‘91, The Kitchen, New York, US

1990
Video Poetics, Long Beach Museum of Art, Long Beach, US
Presumed Identities, Real Art Ways, Hartford, US
Image World: Metamedia, Whitney Museum of American Art, New York, US

1989
[A]Mass[ed] Media, L.A.C.E., Los Angeles, US
Computer/Video, The Museum of Modern Art, New York, US
The Blues Aesthetic: Black Culture and Modernism, Washington Project for the Arts, Washington, D.C. (Toured US)
Strange Attractors: Signs of Chaos, The New Museum of Contemporary Art, New York, US
Icono Negro. Long Beach Museum of Art, Long Beach. National Black Arts Festival 1990, Atlanta, US
Art of Music Video. Long Beach Museum of Art, Long Beach (Toured US)

1988
Ancient History: Three Video Installations, The Bronx Museum of the Arts‘ Satellite Gallery at Hostos Community College, Bronx, US

1987
Buying In and Selling Out, Artists Space, New York, US
Audience as Protagonist: Getting into the Picture, Hallwalls Contemporary Art Center, Buffalo, US

1986
Recent Narrative Work Part II, The Kitchen, New York, US

1984
Re-Viewing Television… Video Artists Look at TV, Whitney Museum of American Art, New York, US
History As Content, Washington Project for the Arts, Washington, D.C., US
Art and Social Conscience, Bard College, Annandale-on-Hudson, US

1983
The Next Juried Show, Virginia Museum of Fine Arts, Richmond, Virginia, US


Lectures and Festivals

2022
Tony Cokes in Dialogue, Illuminations: Black Cinematic Artists & Scholars Speaker Series, Moore College of Art & Design, Philadelphia, US

2021
Sarah Oppenheimer in conversation with Tony Cokes, Grand Prototypes, Humble Tools: FRONT International: Cleveland Triennial for Contemporary Art Preview Exhibition, Transformer Station, Cleveland, US
Tony Cokes in Conversation, Curtis R. Priem Experimental Media and Performing Arts Center (EMPAC), Rensselaer Polytechnic Institute, Troy, New York, US
The Voice of the Artists: On Portraits of Frederick Douglass, 34th São Paulo Biennial, São Paulo, BR
Words and Spaces, Ellen Maria Gorrissen Lecture, The American Academy in Berlin, DE

2020
Dhaka Art Summit, Dhaka, BD

2019
POP Montreal, Phi Foundation, Montreal, CA

2018
EXPO VIDEO, curated by Anna Gritz, Expo Chicago, Chicago, US

2017
Hypervisibilities, organized with Sondra Petty and The Vera List Center, UnionDocs, Brooklyn, New York, US

2016
Critics’ Choice: Whose Cinema? (FaceValue (X 3)), Rotterdam International Film Festival, Rotterdam, NL
Dreamlands: Immersive Cinema and Art, 1905–2016 (Pain Revisited), Whitney Museum of American Art, New York, US
On Screen / Sound No. 11, Curtis R. Priem Experimental Media and Performing Arts Center (EMPAC), Rensselaer Polytechnic Institute, Troy, New York, US

2013-15
Script Films. TypEmotion—Script as a moving image: A dynamic archive, ZKM Center for Art and Media, Karlsruhe, DE and FACT, Liverpool, GB

2013
Sound Spaces: Pop, Terror, Critique (Remix), Rotterdam International Film Festival, Rotterdam, NL

2010
Break Even: Concept Store, De Doelen, Rotterdam International Film Festival, Rotterdam, NL

2009
El Espejo 2009, 6th International Festival, Bogota, CO
Rencontres Internationales Madrid, Reina Sofia, ES
Our Literal Speed Conference 2, University of Chicago, US
Black Revolution, L’Ecran / Festival Est-ce ainsi, Saint-Denis, FR
Rotterdam International Film Festival, Rotterdam, NL

2008
International Documentary Festival, Amsterdam, NL
Art About Freedom Festival, Gdansk, PL
Rencontres Internationales Paris-Berlin. roARaTorio transmédia, Jeu de Paume, Paris, FR; Haus der Kulturen der Welt, Berlin, DE
Puissances Critiques des Images, Musée du Louvre, Paris, FR
Rencontres Internationales Madrid, Circulo de Bellas Artes, Madrid, ES
Our Literal Speed Conference, ZKM Center for Art and Media, Karlsruhe, DE

2007
Temps D’Image, USINE-C, Montreal, CA
Electromediascope: Pop Music and Consumer Culture, Nelson-Atkins Museum of Art, Kansas City, US

2006
Rencontres Internationales Paris-Berlin, roARaTorio transmédia, Paris, Berlin, DE
Dallas Video Festival, Dallas Theater Center, Dallas, US
State of Exception, Studio 27, San Francisco, US
Finger Lakes Environmental Film Festival, Ithaca College, Cornell University, Ithaca, US
Nemo Media Festival. Arcadi, Parc de Villette, Paris, FR

2005
16th Impakt Media Festival. Utrecht, NL
Rencontres Internationales Paris-Berlin. roARaTorio transmédia, Paris, FR; Berlin, DE
VideoEx International Media Festival, Zurich, CH
Go Fly A Kite: Movies About Mass Communication (Benjamin Franklin: An American Idol), Media Tank/Nexus Gallery, Philadelphia, US
International Documentary Festival Amsterdam, NL
The Worm of the Word in the Belly of the Picture… Sarai, Centre for the Study of Developing Societies, New Delhi, IN
Pixilerations Festival V.2, Providence, Rhode Island, US
Visible Sound and Image for the Ear, Seoul Film & Net Festival, Seoul, KR
Theft Is Property, Rooftop Films Summer Series, Brooklyn, New York, US
Political Video from NY, ObjectNotFound Project Room, Monterrey,  MX and Nehru University, Delhi, IN
Oberhausen Short Film Festival, Oberhausen, DE
13th Curtas Vila do Conde International Film Festival, Vila do Conde, PT
16th Uluslararasi Ankara Film Festivali, Ankara, TR
Total Impakt 2 (Images on Music), 12th New York Underground Film Festival, Anthology Film Archives, New York, US
P.S. Homefront USA: Drawing the Line, Rotterdam International Film Festival, Rotterdam, NL

2004
Video Visions (Cable Broadcast), Edith Russ Site for Media Art, Oldenburg, DE
Rencontres Internationales Paris-Berlin, roARaTorio transmédia, Berlin, DE
15th Impakt Media Festival, Utrecht, NL
Word/Image Symposium, MuHKA, Antwerp, BE
Habeas Corpus: 3rd Public Art Forum. Sala de Arte Publico Siqueiros, MX
Pixilerations Festival V.1., Providence, Rhode Island, US
Imagine Festival: Comments From The Global Village. Ocularis Media Center, Brooklyn, New York, US
On The Waterfront. Socrates Sculpture Park, L.I.C., Queens, New York, US
Hit‘n Run, Gigantic Arts Space, New York, US
Markets and Value Film Series, Getty Research Institute, Los Angeles, US
Just A Minute. Short Films Commissioned by Rotterdam International Film Festival, Rotterdam, NL
Mediawave 2004 Film and Jazz Festival, Gyor, HU

2003
London Film Festival. National Film Theatre, London, GB
Rencontres Internationales Paris-Berlin. roARaTorio transmédia, Berlin, DE
Fantoche 03: Internationales Festival für Animationsfilm. Kino Sterk, Baden, DE
Athens International Film & Video Festival, Ohio University, Athens, Ohio, US
Video Data Bank: New Work, Society for Cinema and Media Studies Conference, Screening Committee, Minneapolis, US
Rencontres Internationales Paris-Berlin, roARaTorio transmédia, Paris, FR
Alternative Histories of Modern Conflict, Impakt Festival, curated by Florian Wüst, Centraal Museum, Utrecht, NL
New Media Art: The First Decade and Beyond, a lecture presented by Martin Betz, Hui No‘Eau Visual Arts Center, Makawao, Hawaii, US

2002
Curatorial Strategies: Better Worlds, a symposium presentation by Jan Allen, Unversity Art Association of Canada, Calgary, CA
Not Done, Holland Animation Film Festival, Utrecht, NL
L.A. Freewaves Media Festival, Los Angeles, US
Video Viewpoints: A Selection from the Last Decade, The Museum of Modern Art, New York, US
Abendveranstaltung im Zeichen der Angst, a symposium presentation by Florian Wüst, M.F.A. Programm in Public Art and New Artistic Strategies, University of Weimar, Weimar, DE
15th Dallas Video Festival, Dallas, US
Screening, deBalie, Amsterdam, NL
What Is Cinema? Rotterdam International Film Festival, Rotterdam, NL

2001
Video Lisboa Festival, Lisbon, PT
19th World Wide Video Festival, Amsterdam, NL
12th Impakt Media Festival, Utrecht, Netherlands, NL
Wish You Were Here, Gallery X, New York, US
VideoEx Media Festival, Zurich, CH
RISD Museum, Providence, Rhode Island, US
20th Century Revisited (Main Programme, Shorts), Rotterdam International Film Festival, Rotterdam, NL
8th FebioFest Film Festival, Prague, CZ
Art In Motion II, University of Southern California, Los Angeles, US
zèppelin 2001-absolutely plugged, IV Sound Art Festival, Centre de Cultura Contemporània de Barcelona, ESP
WPA\Corcoran Presents: An Extended Evening of Video Viewing, Goethe Institut, Washington, D.C., US
14th Dallas Video Festival, Dallas Museum of Art, Dallas, US

2000
18th World Wide Video Festival, Amsterdam, NL

1997
Constant, Brussels, BE
Saturday Cinemateque Series, New York University, Cinema Studies Department, Tisch School of the Arts, New York, US

1995
KQED, San Francisco, US

1993
Internationale Westdeutsche Kurzfilmtage, Oberhausen, DE

1992
Made in the USA: Radical Identities, 2e Festival Video Brussels, BE
20th Anniversary Screenings, Downtown Community Television, New York, US
6ème Manifestation International de Vidéo et Télévision de Montbéliard, Hérimoncourt, FR
Institute of Contemporary Art, Boston, US
Video-In, Vancouver, US
911 Media Arts Center, Seattle, US
KCET, Los Angeles, US

1991
New Visions-Video (Golden Gate Award), San Francisco International Film Festival, San Francisco, US
Athens International Film and Video Festival (2nd Prize – Video Experimental), Ohio University, Athens, Ohio, US
Prized Pieces Award (Best Cultural Affairs Doc.), National Black Programming Consortium, Columbus, Ohio, US
Repackaging Paradise (Conference on Multicultural Media), Media Network, Hunter College, New York, US
Screening, IMAGES 91 Independent Film and Video Festival, Toronto, CA
Screening, Berlin International Black Cinema Festival, Berlin, DE

1990
Video Witnesses: A Festival of New Journalism. Hallwalls, Buffalo, New York, US

1988
New Work. American Film Institute Video Festival, Los Angeles, US

1987
Images of Vietnam: The Struggle for Memory. American Film Institute Video Festival, Los Angeles, US

1986
Screening. Anthology Film Archives Video Program, Millenium Film Workshop, New York, US

1984
From TV to Video... . L‘immagine Elettronica Festival, Bologna, IT


Monographs and Catalogues

2021
Fernández Pan, Sonia, and Carolina Jiménez, eds. You Got to Get In to Get Out. Madrid: La Casa Encendida.
Brown Jr., DeForrest, Justin Hoffmann and Mathilde Weh, eds. Techno Worlds. Berlin: Hatje Cantz Verlag.

2020
Dempsey, Michael and Victoria Evans, eds. Worlds Without End. Dublin: Hugh Lane Gallery.
Seidl, Walter, ed. Spaces of No Control. New York: Austrian Cultural Forum.
Byers, Dan and Laura Preston, eds. In Conversation: Tony Cokes and Christophe Cox. Cambridge, MA: Carpenter Center for the Visual Arts, Harvard University.

2019
Horare, Natasha, ed. If UR Reading This It’s 2 Late: Vol. 1–3. Cambridge: MIT Press.
Eleey, Peter and Ruba Katrib, eds. Theater of Operations: The Gulf Wars 1991–2011. New York: MoMA PS1.
Cokes, Tony and Semb, Tine. Polar Green (Mikrohaus++). Oslo: Karmaklubb* and IGWTLI publishing.
Cokes, Tony. Tony Cokes: Sound System. London: Tate Film. Exhibition Pamphlet.

2018
Cokes, Tony. The Vienna Guide. Vienna: Sax Publisher.
Ngcobo, Gabi, ed. We Don’t Need Another Hero: 10th Berlin Biennale for Contemporary Art. Berlin: Distanz.

2017
Panchia, Bhavisha, ed. Buried in the Mix. Memmingen: MEWO Kunsthalle.

2016
Cokes, Tony. The Black Banal. Ithaca: Image Text Ithaca Press.


Selected biography

2022
Kleinman, Alex. Tony Cokes: Haus der Kunst. Kunstverein München. Artforum Print October.
Müller, Vanessa Joan. Tony Cokes: “SM BNGRZ” . CURA Magazine. 13 January: Web.
“18 Must-See Exhibitions in Europe in 2022, From a Duet Between Van Gogh and Etel Adnan to Francis Bacon’s Animal Paintings.” Artnet News. 5 January: Web.

2021
Litt, Steven. “A preview at Transformer Station shows how the 2022 FRONT Triennial will focus on art’s power to heal.” Mutual Art. 7 November: Web.
Choate, Canada. “Plagiarism is Necessary: A Conversation with Tony Cokes.” Flash Art Italia October: 100-111.
Rafferty, Rebecca. “Six Art Shows You Shouldn’t Miss This Fall.” Rochester City Newspaper. 1 September: Web.
Heardman, Adam. “Shooting Time: Art, Ads and the Agora.” Art Monthly, April: 5-8. Smith, William S. “Imaginative Resources.” Art in America. March/April: 36-43.
Colville, Charlie. „‘Choices Can Be Productive‘: Audience Autonomy is Key in Tony Cokes‘ CIRCA Screening.“ Mouthing Off Magazine, 25 February: Web.
Talbot, Lynton. “Lynton Talbot in conversation with Tony Cokes.” CIRCA, 1 February: Web.
“Art Industry News: Sotheby’s Turns Its Staff into Jewelry Mannequins as In-Sale Advertising Opens New Revenue Stream + Other Stories.” Artnet News. February: Web.
Westfall, Mark. “Artist Tony Cokes to Broadcast Four Powerful New Films Confronting Police Violence and the Questions We Face in the PostPandemic Era.” FAD Magazine. 1 February: Web.

2020
Edwards, Adrienne. “Some Thoughts on a Constellation of Things Seen and Felt.” The Brooklyn Rail. 11 November: 48-49.
Cascone, Sarah. “Editors’ Picks: 9 Events for Your Art Caneldar This Week, From a Tony Cokes Video Commission to Frieze Sculpture at Rockefeller Center.” Artnet News. 31 August: Web.
Schneider, Tim. “Editors’ Picks.” Artnet News. 22 June: Web.
Gormley, James. “Tony Cokes: If UR Reading This It’s 2 Late.” The Wire. March: Web.
Thorn, Harry. “Tony Cokes: Goldsmiths Centre for Contemporary Art.” Artforum. February: 211.
Mattern, Shannon. “Auto-Advance.” Art in America. February: 64-69.
McQuiad, Cate. “Media as weapon, media as mirror.” The Boston Globe. 7 February: Web.
Ramadan, Dina. “Theater of Operations: The Gulf Wars 1991–2011.” Art Agenda. 7 February: Web.
Iadarola, Alexander. “Paradise: on EDM, Speculation and Finance.” Rhizome. 16 January: Web.
Gronlund, Melissa. “What MoMA PS1’s ‘Theater of Operations’ Can Teach Us About the Killing of Qasem Soleimani.” Frieze. 16 January: Web.
Khan, Tabish. “The Top Five Exhibitions to see in London in 2020.” Fad Magazine. 4 January: Web.

2019
Mohebbi, Sohrab. “Best of 2019.” Artforum. December: 158–159, 182–183.
Jen, Alex. “Best of 2019: Our Top 20 Los Angeles Art Shows.” Hyperallergic. December 11: Web.
Flint, Lucy, ed. Searching the Sky for Rain. SculptureCenter: New York. 59-61.
Farago, Jason and Tim Arango. “We Fought in Iraq. Don’t You Forget It.” The New York Times. 15 November: C13.
Fite-Wassilak, Chris. “London Roundup.” Art Agenda. 7 October: Web.
Nam, Hiji. “Tony Cokes on Quotation and Legibility.” Artforum. 30 September: Web.
Gosling, Emily. “When Art Goes Disco Dancing.” Elephant. 27 September: Web.
Moldan, Tessa. “Frieze Week Lowdown: London Shows to See.” Ocula. 20 September: Web.
Cokes, Tony. “Testament A (MF FKA K-P X KE RIP).” Frieze. May: 175-181.
Cokes, Tony. Interview with Attilia Fattori Franchini. Mousse. Issue 66. 86-93.
Moffitt, Evan. “Arcade Atheltics and Eco-Feminist Mythology: the Exhibitions to See in Los Angeles.” Frieze. 28 February: Web.
Russeth, Andrew. “Seven Superb Shows to See in Los Angeles During — and After—the Art Fairs.” Art News. 14 February: Web.
Steinhauer, Jillian. “’Revolution from Without…’” The New York Times. April.

2018
“Tony Cokes.” The New Yorker. 28 May: 8.
Choate, Canada. “Critic’s Picks.” Artforum. May: Web.
Cokes, Tony. “The Artists’ Artists: Seth Price.” Artforum. December: 71.
Davis, Ben. “How Art Helps Makes Sense of Donald Glover’s ‘This Is America’ Video & More Critical Thoughts on Culture.” Artnet News. 17 May: Web.
Drucks, Achim. “Twilight of Heroes.” ArtMag by Deutsche Bank. June: Web.
Feldman, Max L. “Curated By_Vienna 2018.” Spike. November: Web.
Guadagnino, Kate. “Eleven Summer Book Covers, Reimagined by Artists.” The New
York Times Style Magazine. 21 June: Web.
Joo, Eungie. “The Year in Review.” Artforum. December: 156.
Larios, Pablo. “curated_by Viennaline: Other Gallery-Shares Take Note.” Frieze. 25 September: Web.
Larios, Pablo. “We Might Not Need Another Hero, But Do we Need Another Fair-to Middling Biennial?” Frieze. June: Web.
Lee, Yaniya. “Rebellious Inversions: Tony Cokes’s 1988 video Black Celebration (A Rebellion Against the Commodity.” Flash Art. Sept/Oct: 42-47.
Muñoz, María. “Dear History, We Don’t Need Another Hero. 10th Berlin Biennial.” Chrome Art Magazine. June: Web.
Perlson, Hili. “5 Artists You Must Not Miss at the 10th Berlin Biennale.” Artnet News. 11 June: Web.
Reed, Patrick J. “10th Berlin Biennale: We don’t Need Another Hero.” Art Agenda. 11 June: Web.
Schwartz, Madeleine. “10th Berlin Biennale.” Artforum. October: 220.
Schwendener, Martha. “Tony Cokes.” The New York Times. 24 May: C17.
Stapley-Brown, Victoria, Miller, James H., and Olesen, Ivy. “Three to see: New York.” The Art Newspaper. 4 May: Web.
Wilson, Cerys. “Tony Cokes.” Art New England. March/April: 16-17.

2017
Greenberger, Alex. “Greene Naftali Now Represents Tony Cokes.” Artnews. 13 July: Web.

2016
Rodney, Seph. “Skinheads, Patterned Sweaters, and Other Favorites from the NY Art Book Fair.” Hyperallergic, September 19, 2016.

2015
Troxell, Jenelle. “Torture, Terror, Digitality: A Conversation with Tony Cokes.” Afterimage, Vol. 43, No. 3. 2015.

2013
Cokes, Tony. “Filmmaker’s Journal: resonanz.01 (20082013) notes / fragments on a case of sonic hauntology.” Black Camera, Vol. 5, No. 1. Fall 2013: 220-225.
Mohebbi, Sohrab. “Tony Cokes.” Frieze, January 2013.
Boucher, Brian. “Tony Cokes.” Art in America, January 2013.

2012
Cheh, Carol. “Tony Cokes.” Artillery. Nov/Dec.
Mizota, Sharon. “Information Overload from Tony Cokes’s Videos at REDCAT.” LA Times, November 1.

2010
Cokes, Tony. “Supplement.” XTRA Vol. 12, No. 3. 2010: 28.

2009
MacDonald, Scott. “Desegregating Film History: Avant-Garde Film and Race at the Robert Flaherty Seminar, and Beyond.” Adventures of Perception – Cinema as Exploration:
Essays/Interviews Berkeley: University of California Press: 72 – 80.

2008
Austin, Thomas and Wilma de Jong, eds. Rethinking documentary: new perspectives, new practices. London: Open University Press: 269.

2007
Brenson, Michael, et al, eds. Creative Time, The Book: 33 years of Public Art in New York City. New York: Princeton Architectural Press: 113.
Zimmermann, Patricia. “Public Domains: Engaging Iraq Through Experimental Digitalities.” Framework: The Journal of Cinema and Media. Vol. 48. Fall. Detroit: Wayne State
University: 66-83.

2006
Balzer, David. “Eye candy: Tony Cokes - Pop Manifestos.” Eye Weekly Toronto. 6
April.
Zimmermann, Patricia. “Commentary: Independent Public Media Resists Fear.” The Ithacan. Vol. 74. Iss. 6. 5 October.
Zimmermann, Patricia. “Islamophobia, Panic and Public Media.” Medichannel. 4 October: Web.

2005
Lechner, Marie. “Le Labo: ‘Murmur’ Rotterdam.” Liberation. 2 February.
Suarez, Harrod J. “Mise-en-Sound: Phantoms in Video Art.” South East Asian Studies Summer Institute Student Conference. Madison, Wisconsin. July 23.

2004
Weir, Kathryn. “Jump Cut: Music Video Aesthetics,” in Video Hits: Art & Music Video. Queensland: Queensland Art Gallery.

2003
Boucher, Brian. “To Be Political, It Should Have a Good Beat.” The Thing Reviews.

2002
Allen, Jan and Laura U. Marks. Better Worlds. Kingston, ON: Agnes Etherington Art Centre.

2001
Moran, Jim. “Air Raids: L.A. Freewaves’ Celebration of Experimental Media Arts.” The Independent. March.

2000
Arthur, Paul. “Springing Tired Chains: Experimental Film and Video.” Struggles for Representation: African American Documentary Film and Video. Bloomington: Indiana University Press: 276-278.
Willis, Holly. “Signal to Noise: Ad Vice.” LA Weekly. November 3–9.

1999
Mercer, Kobena. “Busy in the Ruins of a Wretched Phantasia.” Frantz Fanon: Critical Perspectives Abingdon, UK: Routledge: 213.

1996
Smith, Roberta. “In Connecticut, the Old Meets the New.” The New York Times. 12 July. Temin, Christine. “Sculpture terrace gets off to a teetering start.” The Boston Globe. July 31.

1995
Charles, Nick. “Art of fighting stereotypes.” The New York Daily News. August 13. Patterson, Tom. “A very different picture: Exhibitions explore 2 eras of American black experience.” The Charlotte Observer. May 21.

1994
Gopnik, Adam. “Black Studies.” The New Yorker. December 5.

1993
Freeland, Dennis. “Heroes, Hypocrisy, & Malcolm X.” The Memphis Flyer. May 13.
Kelt, Deborah. “N HNR of X.” Downtown Express. March 1.
Levin, Kim. “Choices.” The Village Voice. April 6.
Litt, Steven. The Cleveland Plain Dealer. September 21.
McQuaid, Cate. “Visionaries: 11 Artists at the DeCordova.” The Boston Phoenix. July 6.
Temin, Christine. “DeCordova Scores a Perfect 11.” The Boston Globe. June 29.

1992
Steger, Michael. “Power/Pleasure: Alumni at Key Gallery.” Commonwealth Times. January 28.
Wooster, Ann-Sargent. “Mirror, Mirror on the Wall.” High Performance. Spring.

1991
James, Caryn. “Critic’s Notebook: Film as a Shaper of American Culture.” The New York Times. April 19.
Lewis, Mildred Inez. “Black Men in America: Changing Reality?” New Art Examiner.
Marks, Laura U. “Suspicious Truths: Flaherty 1991.” Afterimage.
McEvilley, Thomas. “Two Big Shows: Post-Modernism and Its Discontents/New York: The Whitney Biennial.” Artforum. Summer.
Wooster, Ann-Sargent. “Cube With A View.” Afterimage. October.
Wooster, Ann-Sargent. “The Heart of Darkness: Film and Video at the Whitney Biennial.” Arts Magazine. October.

1990
Sanford, Beverly. “The Squealer.”  March/April.
Thompson, Richard. “Demystifying Objectivity: Buffalo’s Video Festival of New Journalism.” The Independent. June.

1989
Coke, Tony. Interview with Dan Walworth. Art Papers Magazine. September/October.
Curtis, Cathy. The Los Angeles Times. June 29.
Payne, Robert. Artweek. December 28.

1988
Nash, Michael. High Performance Magazine. Winter.


Academic honors, Awards, Fellowships

2020 – 21
Ellen Maria Gorrissen Fellow, The American Academy in Berlin, DE

2003 – 17
Departmental Research Funds for the Arts, Humanities, and Social Sciences, Brown University, Providence, Rhode Island, US

2014
Residential Fellow, Corporation of Yaddo, Saratoga Springs, New York, US

2010
AT&T Research Assistantship, Watson Institute for International Studies, Brown University, Providence, Rhode Island, US

2008 – 09
Resident Scholar / Artist-in-Residence, Getty Research Institute, Los Angeles, US

2007
Forbes Research Grant, Malcolm S. Forbes Center for Research in Modern Culture and Media Studies, Brown University, Providence, Rhode Island, USA (‘sonic.focus.2’ Conference)
Lectureship Funds, Dean of Faculty, Brown University, Providence, Rhode Island, USA (“sonic.focus.2” Conference)

2006
Faculty Development Fund, Brown University, Providence, Rhode Island, USA (“Evil” series)
Fitt Artist-In-Residence Award, Creative Arts Council, Brown University, Providence, Rhode Island, USA (“sonic.focus” Conference)
Forbes Research Grant, Malcolm S. Forbes Center for Research in Modern Culture and Media Studies, Brown University, Providence, Rhode Island, USA (“sonic.focus” Conference)
Lectureship Funds, Dean of Faculty, Brown University, Providence, Rhode Island, USA (“sonic.focus” Conference)

2003
Short Film Commission, Rotterdam International Film Festival, Rotterdam, NL (for Black September)

2002
Faculty Development Fund, Brown University, Providence, Rhode Island, USA (for “Evil” series)
Salomon Research Award, Brown University, Providence, Rhode Island, USA (for Shrink)
Creative Capital Foundation, New York, USA (Supplemental Funding: Billboard Project & ‘Pop Manifestos’)

2000
Multi-Arts Production Fund (for Dance Collaboration), Rockefeller Foundation, New York, US

1999
Creative Capital Foundation, New York, USA (for Billboard Project and “Pop Manifestos”)
Visible Republic Finalist – Public Art, The New England Foundation for the Arts and The LEF Foundation, Cambridge, Massachusetts, US

1998
Manning Assistant Professorship Research Fund, Department of Modern Culture and Media, Brown University, Providence, Rhode Island, US

1996
International Video Art Award Competition (semi-finalist), ZKM Center for Art and Media, Karlsruhe, DE
Intercultural Film/Video Fellowship (for “Pop Manifestos”), Rockefeller Foundation, New York, US

1995
Public Postering Project Grant, Creative Time, Inc., New York, US

1994
Fellowship (Multimedia installation art), John Simon Guggenheim Foundation, New York, US

1993
Alumni Star, School of the Arts, Virginia Commonwealth University, Richmond, Virginia, US

1992
United States/France Artists Exchange Fellowship, National Endowment for the Arts, American Center, Paris, FR
Media Production Grant, New York State Council on the Arts, New York, US

1991
Visual Artists Fellowship, New Genres, National Endowment for the Arts, Washington, D.C., US
Fellowship in Video, New York Foundation for the Arts, New York, US
Golden Gate Award, San Francisco International Film Festival, San Francisco, US
Video Experimental (2nd Prize), Athens International Film and Video Festival, Ohio University, Athens, Ohio, US
Prized Pieces Award, (Winner: Cultural Affairs Doc.), National Black Programming Consortium, Columbus, Ohio, US

1990
Agit-Prop Video Award, Video Witnesses: A Festival of New Journalism, Hallwalls, Buffalo, New York, US

1988
Media Production Grant, New York State Council on the Arts, New York, US
Project Grant, Art Matters Inc., New York, US

1986
Fellowship in Video, New York Foundation for the Arts, New York, US
Media Production Grant, New York State Council on the Arts, New York, US

1983
Sculpture Dept. Award, Virginia Commonwealth Univ., Richmond, Virginia, US


Public collections

Art Institute of Chicago, Chicago, US
Carnegie Museum of Art, Pittsburgh, US
Centre Georges Pompidou, Paris, FR
DeCordova Museum and Sculpture Park, Lincoln, Massachusetts, US
Flint Institute of Arts, Flint, Michigan, US
Fonds Régional d’Art Contemporain de Lorraine, Metz, FR
Hammer Museum, University of California, Los Angeles, US
Kunsthal Charlottenborg, Copenhagen, DK
Long Beach Museum of Art, Long Beach, California, US
Los Angeles County Museum of Art, Los Angeles, US
The Museum of Modern Art, New York, US
Queensland Art Gallery, Brisbane, Australia, AU
San Francisco Museum of Modern Art, San Francisco, US
The Studio Museum in Harlem, New York, US
UNM Art Museum, University of New Mexico, Albuquerque, MX
Wexner Center for the Visual Arts, Ohio State University, Columbus, Ohio, US
Whitney Museum of American Art, New York, US

News

Publications

SM BNGRZ. [New Order Edit], Special Edition, 980 pages, Edition of 20 + 4 AP, Published by saxpublishers, with FELIX GAUDLITZ, Vienna, Greene Naftali, New York, and Hannah Hoffman, Los Angeles, Vienna, 2022 (upcoming)

SM BNGRZ. [New Order Edit], Softcover, 200 pages, Edition of 400, Published by saxpublishers, with FELIX GAUDLITZ, Vienna, Greene Naftali, New York, and Hannah Hoffman, Los Angeles, Vienna, 2022 (upcoming)

If UR Reading This It's 2 Late: Vol. 1–3, Softcover, color, 124 pages, Published by Goldsmiths Center for Contemporary Art and Goldsmiths Press, London, 2019

The Black Banal, (2nd edition), 15 silk screened loose sheets, 8.5 × 11 in in die-cut screen-printed folder, Edition of 100, Published by Image Text Ithaca Press and Greene Naftali, NY, 2019

Polar Green (Mikrohaus++), Softcover, 76 pages and five cards, 6.6 × 4.3 inches, Edition of 100 + 10 AP, Published by Karmaklubb* and IGWTLI publishing, Oslo, 2019

The Vienna Guide, Softcover, 48 pages and three stickers, 6.6 × 4.3 inches, Edition of 150 + 25, Published by saxpublishers, Vienna, 2018

The Black Banal, 15 silk screened loose sheets, 8.5 × 11 in in die-cut screen-printed folder, Edition of 100, Published by Image Text Ithaca Press, 2016

Index