Bio

Early life and influences Kevin Clarke was born in Brooklyn, New York and raised in the NY area. An early family influence was his grandfather Albert Allan MacDonald, a cabinet maker from Australia. Family ties to ancestor John Evelyn, (1620—­1706), an English writer, gardener, and diaristinflamed Clarke’s imagination. Kevin Clarke’s father Hugh Allan Clarke’s (1919—­2012) great, great, etc uncle, Robert Evelyn was John Evelyn’s brother and a founder of the colony of Barbados.

Kevin Clarke first visited family in Barbados in 1969, three years after independence from Great Britain.He attended The Cooper Union for the Advancement of Science and Art where his principle professors were Hans Haacke, Christopher Wilmarth, and Dore Ashton. Prof Haacke had close ties to the Kunstakademie Düsseldorf and hosted visits by their professors, including Klaus Rinke and Joseph Beuys, who exerted a strong influence. He was employed as an assistant to the sculptor Sylvia Stone and her husband, painter Al Held to support himself while studying.

He graduated with a BFA in sculpture in 1976. He became a member of Artists Meeting for Cultural Change and worked on an anticatalog, a publication protesting the political nature of The Whitney Museum’s Bicentenniel exhibitions 300 Years of American Art and 200 Years of American SculptureAn employment with artist Yoko Ono in 1975 (Pyramids) led Ono to send him to the Yucatan, Mexico to photograph and study the Pyramids. He suffered a near fatal appendicitis attack and was hospitalized for 30 days, barely saved by a horse shot of penicillin.

Basel

After recuperating for several months Clarke moved to Basel Switzerland where he co-founded Das Kollektive with 4 Basel artists. The group did happenings and exhibited a collaborative piece at the Kunsthalle Basel in 1976. Clarke repeatedly photographed streetscapes in Basel for an exhibition at Galerie Stampa and was arrested more than fifty times and deported to Germany. The secretive Swiss Banks did not appreciate being included in his project. He was hired by KD Wolff of Verlag Roter Stern, Frankfurt am Main, to transport films of the German 60’s movement throughout Germany for viewings at Universities but disembarked from the project upon arriving in Kassel, which was preparing the Documenta 6 exhibition, Kunst Und Medien.

Kassel

Clarke organized a group of students, who attracted their professors at the Kunsthochschule Kassel. Professors Floris Neusüss and Günter Rambow were leaders in photography in Kassel. Kevin Clarke and Horst Wackerbarth, along with H.P. and Ulla Baumann, Lucy Bunse, and Michael Goos formed the collective Stadtzeitung und Verlag in 1977 and published the anti catalog to Documenta 6 titled Kunst Und Medien, Materialien Zur Documenta 6. The spirited catalog sold over 44,000 copies during the 100 days of the Documenta. Clarke conducted interviews with numerous participants and became close to Jochen Gerz and to Joseph Beuys, who sponsored Clarke’s membership in the International Artists Gremium, which met in Berlin in 1977.

Berlin

Clarke arrived in Berlin at the end of 1977 and began photographing the salespeople in their environments in Berlin’s famous department store, the KaDeWe, Department Store of the West. His book Kaufhauswelt was published in 1980 by Schirmer + Mosel Verlag, Munich. Photographs from the book were exhibited at the Fankfurter Kunstverein later that year.

Wikipedia Deutschland:

Kevin Clarke (*1953 in New York City) ist ein zeitgenössischer Fotograf

Leben und Werk

Kevin Clarke wurde 1953 in New York City geboren. 1976 schloß er ein Studium der Bildhauerei an der Cooper Union in New York bei Hans Haacke und Christopher Wilmarth ab.

Anschließend verbrachte er vier Jahre in der Schweiz und in Deutschland, wo er an konzeptuellen fotografischen Projekten und Ausstellungen arbeitete.

Während der Documenta 6 nahm er an der von Joseph Beuys geleiteten Freien Universität teil. Dazu veröffentlichte Clarke 1986 „Kunst und Medien“, eine Art „Anti-Katalog“ zur Documenta 6, der in den Verkaufszahlen den offiziellen Katalog weit übertraf, weil er vor allem unter jungen Leuten und Studenten sehr beliebt war.

1980 hatte er bereits den Bildband „Kaufhauswelt“ bei Schirmer und Mosel veröffentlicht, eine soziologische Studie in schwarz-weiß Fotografien über die Angestellten des KadeWe im damaligen West-Berlin, wofür er den Kodak Book Award gewann.

Darauf folgte 1984 „The Red Couch. A Portrait of America“, veröffentlicht bei Alfred van der Marck Editions/Harper & Row. Mit diesem Projekt, bei dem Clarke bekannte und unbekannte Amerikaner/Innen auf einer roten Couch porträtierte, erlangte er weltweit Bekanntheit. Sein Kollege Horst Wackerbarth, den er zur Realisierung des Projektes herangezoge hatte, beanspruchte später die Idee für sich, unterlag jedoch in der folgenden gerichtlichen Auseinandersetzung. „The Red Couch“ umfaßt rund einhundert Farbfotografien und stellt ein Profil der amerikanischen Bevölkerung in ihrer ganzen Heterogenität dar. Jeder Portätierte mußte sich auf die gleiche rote Couch setzten, die Clarke zu diesem Zweck über den ganzen Kontinent transportierte. Durch die rote Couch als immer wiederkehrendes Motiv entsteht eine komische, fast surrealistische Wirkung, die an Buster Keaton erinnert. Die Fotoserie wurde vielfach ausgestellt und veröffentlicht, als Motiv wurde sie in der Werbung und in den Medien zitiert.

Ende der achtziger Jahre kam Clarke in Kontakt zu der Firma Applied Biosystems in Kalifornien, die grade an der wissenschaftlichen Entwicklung des Analyseverfahrens des menschlichen Genoms arbeiteten. Clarke bat die Genforscher, einen non-komparativen, individual-spezifischen Seqenzierungsprozess zu entwickeln. Sie entschieden sich für die Darstellung der polymorphen HLA-DQA-1 Alpha-Region und benutzten Clarkes Blut für diese Experimente: er war somit der erste, dessen DNS-Sequenz entschlüsselt wurde. Inspiriert davon, realisierte er im Jahre 1988 ein Selbstporträt, indem er die graphische Darstellung seiner DNS-Sequenz in Form von Buchstabenfolgen mit einem Foto zu einer Montage verschmelzen ließ. Es sollte das erste Porträt sein, das er auf diese Weise machen würde.

Anschließend bereiste er die Welt, um eine Serie von Nachtporträts namens „Awe“ (Ehrfurcht oder Schauer) zu fotografieren, um sich anschließend wieder seinem Interesse an Genetik zu widmen: Die 1992er Fotoserie „From the Blood of Poets“ widmete er amerikanischen Künstlerfreunden, wie John Cage, Jeff Koons und Richard Milazzo. Die Idee dazu kam ihm bei der Lektüre eines Buchs über Picassos Leben, bei dem die Gewohnheit von Künstlern beschrieben wird, sich nach der Vollendung eines neuen Kunstwerks gemeinsam im Atelier zu treffen, um bei einem Glas Wein die neue Arbeit zu beschreiben.

Clarkes Porträts zeigen keine fotografische Abbildung des dargestellten, sondern intuitiv gewählte Motive – Landschaften und Stadtansichten, Stillleben und Objekte, die Clarke mit dem “Porträtierten” assoziierte. Diese Motive kombinierte Clarke mit der graphischen Darstellung der DNS-Sequenz der jeweiligen Person , dargestellt in Form von Buchstabenfolgen oder rhythmischen Kurven. Diese Fotomontage verfremdete Clarke zusätzlich durch die Reproduktion im Farbumkehrverfahren.

Für das folgende Projekt „The Invisible Body“, ausgestellt im Museum Wiesbaden, schuf der Künstler zwei Serien zu je dreizehn Porträts verschiedener Personen aus New York und Wiesbaden. „The Invisible Body“ ist eine Hommage an das Abendmahl von Leonardo da Vinci: hinsichtlich der Rolle des Künstlers als Beobachter einer Stadt und ihrer Menschen, der Nähe zur Naturwissenschaft und der Darstellung einer Gruppe. Clarke entschied sich, analog zu Leonardo ebenfalls dreizehn Personen zu porträtieren, wobei die Dreizehnte ein Leitmotiv darstellen sollte. Für New York wählte Clarke James D. Watson, den Entdecker der DNS-Struktur der Chromosomen, für Wiesbaden Ute Berger, Fördererin experimentieller Kunst. Der Prozess der Auswahl, des Kennenlernens und das Porträtieren der Beteiligten nahm geraume Zeit in Anspruch, für Wiesbaden knapp zwei Jahre, denn Clarke beschäftigt sich mit seinen Modellen, bis ihm ein Motiv auffällt, was ihn zutiefst an diese Person erinnert. Das kann ein vorüberziehendes Schiff auf dem Rhein genauso sein wie die Struktur einer leergeschleuderten Bienenwabe.

Clarkes letztes New Yorker Projekt galt den Anschlägen vom elften September 2001. „Mikey Flowers 9/11“ basiert auf Fotos des Betreibers eines gleichnamigen Blumengeschäfts, der als einer der ersten vor Ort Aufnahmen des kollabierenden World Trade Centers schoß und dabei selbst fast das Leben verloren hätte. Clarke verbindet diese Aufnahmen mit den DNA-Strukturen Überlebender und schafft damit einen optimistischen Gegenentwurf zu jener anderen Anwendung der DNA-Analyse, die verwendet wurde, um die über dreitausend Opfer des barbarischen Terroraktes zu identifizieren.

Clarke returned to New York City in the fall of 1980 with his fiancée, Susanna Eglsaer, aka the Austrian actress Klara Berg, whom he married in 1982. He soon began a series of portraits of New Yorkers sitting on a large red velvet couch he was sleeping on in the studio of the painter Russell Maltz. Clarke was soon joined by his former partner in Kunst Und Medien, Horst Wackerbarth and the duo began to make portraits together based on Clarke’s concept. After four years of difficult collaboration, Alfred van der Marck Editions and Harper & Row published The Red Couch, A Portrait of America (1984) including photographs of Americans from all walks of life sitting on the same couch. Publications including LIFE and the German STERN supported the project.
A subsequent project, AWE, with writer Igor Alexander led to a worldwide pursuit of Halley’s Comet in 1986. The disappointing trajectory of the comet led to the failure of the project and abandonment of plans for a book, exhibitions, and a film. Despite the birth of their son Gerred Clarke in 1985, the couple divorced.
The success of The Red Couch led to many commercial offers to make advertisements and shoot portraits for corporations and magazines. Clarke soon abandoned this path and began to make paintings and large sculptures featuring chromosomes, called the Chromoportraits. Continuing discussions with Dr. James D. Watson and Dr. Paul Schimmel of M.I.T. convinced Clarke to explore options utilizing DNA in his work.

Watson steered Clarke to a tiny startup company in California that was constructing automated DNA sequencing machines. Applied Biosystems agreed to Clarke’s challenge that they create a sequencing procedure that did not require a comparison between two samples, as was previously needed to establish identity. Clarke donated whole blood for the experiment. In 1988 his blood was used in the first successful sequencing of DNA using PCR, now the global standard. Automated DNA Sequencing Methods Using PCR was published in The Journal of Clinical Chemistry in 1989. Clarke was granted permission to have access to DNA sequencing by the lab for his next series, Tertulia and From the Blood of Poets, Taken Literally. (1989-1995). The lab chose the HLA-DQ alpha region of the genome for Clarke’s identity sequencing. It accesses part of the genome that differentiates between self and non-self. The first portrait of the series was Self Portrait in Ixhuatio (1989). Subsequent Portraits included Ana Pellicer, Janet Hasper, Richard Milazzo, La Monte Young, Marian Zazeela, John Cage, Merce Cunningham, Jeff Koons, and Jacques Lowe.

Janet Hasper (Netherlands, 1958-1997)

In 1987 Dutch fashion designer Janet Hasper entered the picture and soon became Clarke’s second wife. Sons Ian Skye Clarke and Friso Sebastiaan Clarke arrived in 1990 and 1994. Janet Hasper died of breast cancer in 1997. Clarke responded with the exhibition Vernal Passage, an exhibition that critic Robert C. Morgan called “These are some of the most poignant and memorable images of loss I have ever encountered.” Review, 1997 and The End Of The Art World New York, Allworth Press..
The reduced family began a transition to living in Europe.

The Invisible Body

The Museum Wiesbaden invited the family to Wiesbaden in spring and summer of 1998, providing housing and a studio. The studio served as a site for several Drawings, Happenings during which a registered nurse drew blood for potential portraits. These Drawings became the basis for the exhibition The Invisible Body (1999). The museum commissioned two sets of 13 portraits with one set being from Clarke’s native New York, the other from the Rhein/Main region. The exhibition included new Portraits of Nam June Paik, James D. Watson, Charlemagne Palestine, Claus Bury, Anna George, Miguel Algarin, Eiko Ishioka, William N. Copley, Michael and Ute Berger, among others. Many portraits from this series later traveled to museums and institutions in the U.S. and Europe.

Dust To DNA

The September 11, 2001 attack on the World Trade Center destroyed the New York studio and brought about the collaboration with local florist and volunteer Emergency Medical Technician Michael Collarone, known as Mikey Flowers. Clarke used Collarone’s photographs of the destruction downtown to memorialize the event, Collarone’s experience, and 17 survivors in the book Mikey Flowers 9/11, Ashes to Ashes, Dust To DNA. A selection of photographs exhibited at the International Center of Photography in New York was curated by Carol Squiers.

Stuttgart gallerist Michael Sturm began to show the DNA Portraits in 2000 and coordinated numerous commissions, the highlight being the 2002 atrium project for the B-W Bank in Stuttgart that included seven new large scaled works. The works were installed in a space designed by architect Frieder von Berg and included portraits of Nobel Prize winner Dr. Nüsslein-Volhart, composer Helmuth Rilling, dancer Birgit Keil, and Friedrich Schiller. The Schiller piece was created with a lock of Schiller’s hair provided by the National Schiller Museum in Marbach. Exhibitions in The International Center of Photography, New York, the Lehmbruck Museum, Duisberg, the Heckscher Museum of Art, NY, the Schirn Kunsthalle, Frankfurt, and the Städel Museum, Frankfurt followed.

Genetic Reveries, 2003 at Janos Gat Gallery, New York explored the tender side of genetics and heredity during the time of the birth of daughter Olivia Clarke (2003).

Clarke created a series of circles within circles images in 2008 called NewCircles. The ongoing NewCircles pieces are meditations on death and passage. The subjects of the portraits are people who were very close who died, most of them from cancer.

Clarke moved to a house in southwest France in 2007 and continues to exhibit and fulfill commissions, mostly in Germany and New York.
Kevin Clarke represented the US along with Matthew Barney in the Beijing, China CAFA Museum’s first Biennial exhibition Super-Organism in 2011.

KEVIN CLARKE
Place de L’Eglise www.kevinclarke.com
46350 Payrac, France tel: +33 5 81 255 103

BORN 1953 New York, New York
EDUCATION 1976 B.F.A., Sculpture, The Cooper Union, New York

2011 Biennial Beijing: Super-Organism. Central Academy of Fine Arts Museum, Beijing, China.

SOLO EXHIBITIONS
2013
“Portraits, Kevin Clarke”. Chateau de la Treyne, France.
2009
“The Portrait Studio” Galerie Michael Sturm, Stuttgart
2008
“NewCircles” Galerie Rothamel, Frankfurt
2005
“Becoming Human”. Sara Tecchia Roma-New York. NYC. Gallery
“Dust To DNA.” Installation. Sara Tecchia Roma-New York. NYC
2003
“Genetic Reveries” Janos Gat Gallery, New York. Catalog.
“Kevin Clarke- Portraits of the Future” Hecksher Museum of Art, NY.
2002
“Dust to DNA, Kevin Clarke and Mikey Flowers 9/11” International Center of Photography, New York.
“Kevin Clarke” Galeria de Arte Pillar Parra, Madrid and Photo Espagne ‘02
“Kevin Clarke” B-W Bank, Stuttgart, Germany
“Kevin Clarke” art Frankfurt. Galerie Michael Sturm
“Frankfurt Meets New York” Mayor’s Honor at Beethoven Hall, NY
2001
“Fantasia in the Key of Berger, Opus ATCG” Tribes Gallery, New York
Atrium project: 6 Portraits. B-W Bank Stuttgart, Permanent installation.
2000
“Kevin Clarke”, Galerie Michael Sturm, Stuttgart
1999
“The Invisible Body,” Museum Wiesbaden, Germany.
1998
“Drawing (blood)” Karlstrasse Studio, Wiesbaden, Germany
1997
“Vernal Passage,” Grand Salon, New York.
1996
“From the Blood of Poets,” Curt Marcus Gallery, New York
1990
“The Red Couch,” Tampa Museum of Art, Florida
1988
“The Apotheosis of the Couch,” Paul Kasmin Gallery, New York
1986
“The Red Couch,” Fotoforum in Leinwandhaus, Frankfurt Germany
1985
“The Red Couch” Represented U.S. photography at the Ampitheater, Summer Rencontres, Arles, France
“The Red Couch,” Galleria Il Diaframma, Milan, Italy
“The Red Couch,” Galerie Lanterna Majika, Stockholm, Sweden
1984
“The Red Couch,” International Center of Photography, Bookstore
“The Red Couch,” Harris Gallery, Houston, Texas

1983
“The Red Couch,” The Photographer’s Gallery, London
“The Red Couch,” Galerie RZA, Dusseldorf, Germany
1980
“Kaufhauswelt,” Frankfurter Kunstverein in “Steinernes Haus” Germany

GROUP EXHIBITIONS
2013
“Love and Life. Portraits of Women from the Klöcker Collection”. Lehmbruck Museum Duisburg, Germany.
“KONZEPT. 20 Years Collection DZ Bank Frankfurt.” Art Foyer Gallery. Frankfurt.
2011
Biennial Beijing: Super-Organism. Central Academy of Fine Arts Museum, Beijing, China.
“FAME” DZ Bank Art Foyer Gallery. Frankfurt.
2009
“EXPosition of Mythology. Electronic technology” Nam June Paik Art Center, Gyeonggi-do, South Korea
2008
“REAL” Photographic Works from the Collection of the DZ Bank. Stadel Museum Frankfurt
“Twisted Into Recognition: Clichés of Jews and Others”. Spertus Museum, Chicago
“typisch! Klischees von Juden und Anderen” Jewish Museum Berlin. Catalog.
2007
“Portrait. The View Behind” Galerie Robert Drees, Hannover
2006
“Happy Birthday Nam June Paik” Nassauische Kunstverein, Wiesbaden, Germany
2005
“Touché” Galerie Michael Sturm, Stuttgart
2004
“A Promise of Photography” Moscow House of Photography, Russia.
“Franz von Lenbach and the Art of Today” Museum Morsbroich, Leverkusen
“Art is not Untouchable” Pablo’s Birthday, N.Y.
“Relating to Photography. Highlights from private Collections” Fotografie Forum International, Frankfurt.
2003
“How Human? Life in the Post-Genome Era” ICP, New York,
“From Code to Commodity”, NY Academy of Science,
“Face To Face, Masterworks From The Collection of the DZ Bank.” Galerie der Stadt Stuttgart. Germany.
Fotosommer Stuttgart, Galerie Sturm .
“Four Plus: Writing DNA “ Wellcome Trust, London
“Paradise Now” Art Center College of Design, Pasadena, CA
“Paradise Now: Picturing the Genetic Revolution” Tulane U., New Orleans, LA
2002
“American Photography” Museum for Concrete Art, Ingolstadt, Germany
Berlin Art, Art fair, Arco Madrid. Art fair, Art Frankfurt. Art fair
“Paradise Now” Carnegie Mellon University, Pittsburgh, PA
“Return of Beauty” Kristen Fredrickson Contemporary Art, New York
2001
“Blood: Power, Politics, and Pathology” Schirn Kunsthalle and Museum for Applied
Art, Frankfurt.
“Under the Skin- Biological Transformations in Contemporary Art” Stiftung Wilhelm Lehmbruck Museum, Duisburg
“Genomic Art: Portrait of the 21st Century” UC Santa Cruz
“Paradise Now” Tang Art Museum, Saratoga, N.Y.
“The Promise of Photography” Schirn Kunsthalle, Frankfurt, Germany

2000
“Paradise Now” Exit Art, N.Y. Catalog.
“Do We Know Each Other?” Kunsthalle Nuremberg, Germany
“Bridget Reiley and Kevin Clarke” Brussels Art Fair, Galerie Sturm
1998
“Gene Worlds,” Portrait of John Cage, Bundeskunsthalle, Bonn, Germany. Catalog.
“Power by Consent,” artcenter of South Florida, Miami Beach, Fl.
1997
“Multiple Identities,” Nexus Contemporary Art Center, Atlanta
“Willem de Kooning, The Late Paintings, The 1980’s” Museum of Modern Art, NY
1996
“Body of Work,” Genaro Ambrosino Gallery, Florida
“The Portrait Now,” Elga Wimmer Gallery , Madrid Art Fair, Spain
1995
“Group Exhibition,” Curt Marcus Gallery, New York
“The Portrait Now,” Elga Wimmer Gallery, New York
1994
“Gene Culture,” Fordham College at Lincoln Center, New York
1988
“Out Into Space.” Condeso/Lawler Gallery, NY
1985
“New Color Photography” Brooklyn Museum, New York
“Private Treasures,” San Antonio Art Museum, Texas
1983
“Kaufhauswelt,” Diverse Works, Houston, Texas
““Willem de Kooning, Retrospektiv” Akademie der Kunst, Berlin.
1980
“POOL” Artist’s Space, New York Catalog.
1979
“Journey to Mauritius,” collaboration with Jochen Gerz
1977
“documenta 6,” 100 days Freie Universitaet, Joseph Beuys
1976
“Pyramids”, Collaboration with Yoko Ono, New York & Yucatan, Mexico
“Das Kollektiv” Exhibition and Happenings, Kunsthalle Basel, Switzerland

SELECTED BOOKS

KUNST UND MEDIEN, MATERIALIEN ZUR DOCUMENTA 6, 1977 Stadtzeitung und Verlag, Kassel. Documenta 6 anti-catalog and prize-winning best seller. 300pp. Text and photographs.

KAUFHAUSWELT (Department Store World), 1980 Schirmer + Mosel Verlag, Munich. Black & white photographs by Kevin Clarke in Kaufhaus Des Westens (KaDeWe) in West Berlin. Text by Hans J. Scheurer.

THE RED COUCH, A PORTRAIT OF AMERICA, 1984, Alfred van der Marck Editions/ Harper & Row. Photographs of Americans on a red velvet couch. Photos by Kevin Clarke and Horst Wackerbarth, text by William Least Heat Moon.

PORTRAITS, KEVIN CLARKE, 1998 ( x+c ). Portraits including From the Blood of Poets and Portrait of John Cage. Text by Alan Jones.

THE INVISIBLE BODY, 1999, Museum Wiesbaden. 118pp. Twenty-six portraits of people from New York and Frankfurt by Kevin Clarke plus texts and background history by Dr. Volker Rattemeyer, Dr. Renate Petzinger, and Luminita Sabau.. Illustrated.

MIKEY FLOWERS 9/11; ASHES TO ASHES, DUST TO DNA, 2002, ars genetica, inc Michael Collarone and Kevin Clarke. Vivid photographs of the attack on the World Trade Center and 16 genetic meditations based on survivor’s DNA sequences. 96 pages, Illustrated.

SELECTED CATALOGS, PUBLICATIONS, & REVIEWS
2011 LIFE China Kevin Clarke’s Conceptual Photography
a+a architecture and art Beijing. “Who We Are, KC’s Conceptual Photography” Super-Organism. Central Academy of Fine Arts Museum, Beijing, China.
2008 REAL Concept Photography. Stadel Museum Frankfurt
Typisch, Clischees von Juden und Anderen. Jewish Museum Berlin.
2005 ‘KUNST AUS DEM LABOR” Zum Verhaeltnis von Kunst und
Wissenschaft im Zeitalter der Technoscience. Ingeborg Reichle. Springer
Wien NewYork.
“ART ET BIOTECHNOLOGIES” Louise Poissant and Ernestine Daubner. University of Quebec Press. CD Rom.
2004 “GENETIC REVERIES” Catalog, exhibition at Janos Gat Gallery, New York.
“THE MOLECULAR GAZE; ART IN THE GENETIC AGE” Suzanne Anker and Dorothy Nelkin. Cold Spring Harbor Laboratory Press. Illustrated.
2002 “ART IN OUR HOUSE- 7 PORTRAITS BY KEVIN CLARKE”. B-W Bank Stuttgart. Catalog, illustrated.
“KEVIN CLARKE”. B-W Bank Stuttgart. Catalog, illustrated. Text by Ralf Christofori
“PARADISE NOW, PICTURING THE GENETIC REVOLUTION” Marvin Heiferman and Carole Kismaric. Tang Museum, Skidmore College. 124pp. Illustrated.
LOSS AND PROFIT: WE REMEMBER, WE CREATE, WE MAKE A BUCK. HOW SHOULD WE FEEL? By Tim Carman. Outlook page, The Washington Post. 8/25/02
EL PUNTO DE LAS ARTES “K.C., la alusion como estrategia de construccion retratistica” Madrid, July. Carlota De Alfonso. Review.
ABC CULTURAL “El retrato metafisico” Fernando Martin Galan. Review.
2001 “UNDER THE SKIN-BIOLOGICAL TRANSFORMATIONS IN CONTEMPORARY ART” Stiftung Wilhelm Lehmbruck Museum, Hatje Cantz. Catalog. Illustrated.
“PARADISE NOW”. Catalog by JGS Foundation, New York. Illustrated.
“BLOOD; POWER, POLITICS, AND PATHOLOGY” Catalog to the exhibition at the Schirn Kunsthalle and Museum of Applied Arts, Frankfurt. Prestel, Illustrated, hardcover & soft.
FAZ, Oct. 22. Ralf Christofori: “Show me your Genetic Formula and I’ll Tell You Who You Are: Kevin Clarke’s Photographs Cross Abstraction and Appearance”. Review.
WIRED, September, 2000. “The Essential James Watson”. Illustrated.
SCIENCE NEWS December, 2000 “Genetic Artistry”. Illustrated.
2000 KUNSTFORUM “Kevin Clarke, Der Unsichtbare Koerper” 149 Review by
Martin Pesch.
PHOTOGRAPHY NOW “Kevin Clarke’s Innen-schau Portrait im Museum Wiesbaden. text Michael Scheuermann . Illustrated.
1999 THE END OF THE ART WORLD”. critical writings by Robert C. Morgan.
Allworth Press New York, NY. 226 pp. Chapter 3 Kevin Clarke, Signs of
Loss and Intimacy. Illustrated.
“THE INVISIBLE BODY” Kevin Clarke, Dr. Volker Rattemeyer Museum Wiesbaden 118pp. Illustrated.
ART KALEIDOSCOPE Frankfurt, October, 1999 “Experimental Portraits by Kevin Clarke. Illustrated.
FRANKFURT ALLGEMEINE ZEITUNG “Die Menschen Mit Metaphern Beschreiben” Katharina Deschka October 23. Illustrated.
1998 “GENE WORLDS- PROMETHEUS’ LABORATORY?” Catalog,
BundesKunsthalle Bonn.
TEXAS MONTHLY “Our 100 Best photographs. Feb. issue. Photo number
six. Illustrated.
1997 VERNAL PASSAGE catalog exhibition at Grand Salon, New York.
Illustrated.
REVIEW review by Robert C. Morgan, “Vernal Passage”. Dec 15. issue.
IMPAKT 1997, Utrecht, Netherlands. Catalog. “Time> 1996 ART JOURNAL “Contemporary Art and the Genetic Code”. Text, “From
the Blood of Poets” by Kevin Clarke. Spring 1996. Illustrated.
INTELLIGENT AGENT Review of Kevin Clarke website From “The Blood
of Poets”, by Richard Ledes. Appeared on-line and in print form.
Illustrated. Volume 1, No. 3, 1996
1995 SYNAESTHETIC 2 The Intersection of Science & Art. Alex Cigale. 4 color
illustrations and text “From The Blood Of Poets, Taken, Literally”.
1994 99 TURN OF THE CENTURY MAGAZINE Volume 1, Number 2, Fall
1994 New York.
“The Blood of the Poets, Taken Literally” text by Kevin Clarke, edited by
Richard Milazzo.
1993 TEMA CELESTE Spring 1993. “Kevin Clarke” by Alan Jones. Illustrated.
1989 CLINICAL CHEMISTRY “Automated DNA Sequencing Methods
Involving Polymerase Chain Reaction”. Koepf, Hunkapillar, Venter, et al.
Vol. 35, No 11, 1989. Blood supplied by Kevin Clarke. Illustrated.
1985 EUROPEAN PHOTOGRAPHY 84. Abrams. Edited by Edward Booth-
Clibborn, London.
Kevin Clarke/Horst Wackerbarth, “The Red Couch”. Illustrated.
“THE RED COUCH, A PORTRAIT OF AMERICA”, 1984 , Alfred van der Marck Editions/ Harper & Row. Photographs of Americans on a red velvet couch. Text by William Least Heat Moon. Softcover edition.
1984 “THE RED COUCH, A PORTRAIT OF AMERICA”, 1984 , Alfred van der
Marck Editions/ Harper & Row. Photographs of Americans on a red velvet
couch. Text by William Least Heat Moon. Hardcover. Numerous reviews,
television appearances, magazine articals, etc. world wide accompanied
publication.
STERN magazine, Germany. The Red Couch. 20pp color illustrations. May 11,1983. Two Gold Medals were awarded by the Art Director’s Club of Germany for this article, including Best Photography and Best Editorial in a magazine. It was the first double gold of the ADC’s 80 year history.
1984 LIFE “Red Rover” The Red Couch, November, 1982. . Illustrated.
1980 KAUFHAUSWELT “(Department Store World), 1980 Schirmer + Mosel Verlag, Munich. Black & white photographs by Kevin Clarke in Kaufhaus Des Westens (KaDeWe) in West Berlin. Text by Hans J. Scheurer. .
“KAUFHAUSWELT (Department Store World), 1980 Frankfurter Kunstverein. Black & white photographs by Kevin Clarke in Kaufhaus Des Westens (KaDeWe) in West Berlin. Text sby Dr. Peter Weiermair and Kevin Clarke. Catalog. Illustrated.
“POOL”, Artist’s Space, New York. Edited by Russell Maltz. Begin of Red
Couch project. catalog. Illustrated.
1977 “KUNST UND MEDIEN, MATERIALIEN ZUR DOCUMENTA 6”,
Stadtzeitung und Verlag, Kassel. Documenta 6 anti-catalog and prize-
winning best seller. 300pp. Illustrated

SELECTED PUBLIC & PRIVATE COLLECTIONS

Smithsonian Institution, National Museum of American History, Permanent Archive, Washington, DC
Brooklyn Museum of Art, New York
International Center of Photography, New York
The Wellcome Trust, London
Museum of Fine Arts, Houston, Texas
Tampa Museum of Art, Florida
San Antonio Museum of Art, Texas
Museum Wiesbaden, Germany
Cold Spring Harbor Lab, New York
Vitra Museum, Weil am Rhein, Germany

Pitney Bowes Collection, New York
Georg von Holtzbrinck Verlag, Stuttgart, Germany
Coca Cola Collection, Atlanta, Georgia
B-W Bank, Stuttgart, Germany
DZ Bank, Frankfurt, Germany
Howard and Janet Stein, JGS Foundation, New York and Santa Barbara

A & B Moeckel, Frankfurt, Germany
William N. Copley Estate Connecticut
Estate of John Cage, New York
Lothar Schirmer, Munich
Hartmut and Heike Schwesinger, Bad Homburg, Germany
H.+ I. Bergmann, Bad Homburg
Gegia Adinolfi, Rome
F. + E. Heintzeler, Stuttgart
H.+ K. Dauster, Stuttgart
Dr. M. Thriemer, Stuttgart
Ann & Jim Harithas, New York, Houston
Ute & Michael Berger, Wiesbaden
Lahl Collection, Wiesbaden
Detmar Westoff, Dusseldorf
Martin Kunz, Switzerland
James D. Watson, Cold Spring Harbor, New York
James Bernstein, Maryland
Dr. Thomas Duhnkrack, Frankfurt
Maria Lucia and Ingo Klöcker, Bad Homburg