nancy davenport


Militarhistorisches Museum der Bundeswehr, Dresden, Germany


Art Gallery of Windsor, Canada


Nicole Klagsbrun Gallery, New York


Gardner Art Center, University of Sussex, UK

Mead Gallery, University of Warwick, Coventry, England


Nicole Klagsbrun Gallery, New York

MIT List Arts Center -Media Wall, Cambridge, Mass.


Photo & Contemporary, Turin, Italy


Nicole Klagsbrun Gallery, New York


The Floating Gallery, Winnipeg, Canada


Corchoran Gallery, NJCU


Mercer Union, Toronto, Canada

OR Gallery, Vancouver, Canada


La Centrale, Montréal, Canada


Linda Kirkland Gallery, New York


Nicole Klagsbrun Gallery, New York


YYZ Artist’s Outlet, Toronto, Canada


Clash: Conflict and its Consequences, National Gallery of Canada, Ottawa, ON, Canada


Faking It: Manipulated Photography in the Digital Age, The Metropolitan Museum of Art, New York, NY

An Interrupted Allegory, World Financial Center, New York, NY


Strange Comfort (Afforded by the Profession), Instituto Svizzero Roma


FEEDFORWARD-The Angel of History, LABoral, Gijón, Spain

Les Visages de L’Industrie, Musée des Beaux-Arts Le Locle, Switzerland

WORK NOW, Z33, Hasselt, Belgium

Workers Leaving the Factory, Art Gallery of Windsor, Ontario, Canada

Custom Car Commandos, Art in General, New York, NY *

Paradox Now!, Arlington Arts Center, Arlington, VA


Liverpool Biennial International 08, Liverpool, UK *

Revolution I Love You, Trafo Gallery, Budapest traveling to IPS Birmingham, UK

ReConstitutions, DHC/Art Fondation pour l’art Contemporain, Montréal *

Not Quite How I Remember It, The Power Plant, Toronto *


10th International Istanbul Biennial, Istanbul, Turkey *

Stutter and Twitch, CCS Bard Galleries, Bard College, Annanedale-on-Hudson, New York


The Message is the Medium, Jim Kempner Fine Art, New York, NY


John Hansard Gallery, University of Southampton, UK

Workers, JFK Performing Arts Center, Washington DC

Workers, Frognerparken, Oslo, Norway (Hydro Centennial) *

The City: Contemporary Views of the Built Environment, Lehman College Art Gallery, Bronx, New York

Beginning Here: 101 Ways, Visual Arts Gallery, New York, NY

Photography Reborn, Ramapo Col New Jersey, NJ *

The Freedom Salon, Deitch Projects, New York, NY

Republican Like Me, Parlour Projects, Brooklyn, NY


Strangers :The First ICP Triennial of Photography and Video,

International Center of Photography, New York, NY *

Urban Dramas, de Singel International Kunstcentrum, Antwerp *


Alter Ego, Musée d’Histoire de la Ville de Luxembourg, Luxembourg

25th Bienal de Sao Paulo: Metropolitan Iconographies, Sao Paulo, Brazil *

Travels to PROA Fundacion, Buenos Aires, Argentina


Lifelike, Rockford Art Museum, Rockford, Illinois


It’s a Cruel World, White Columns, New York


Picture/Image/World, Lemmerman Gallery, New Jersey


Black and White, Linda Kirkland Gallery, New York


Making Pictures – Women and Photography, 1975 – Now, Nicole Klagsbrun Gallery, New York,

travels to Bernard Toale Gallery, Boston, MA, 1997


Selections from 1993 – 1995, Nicole Klagsbrun Gallery, New York

Desiring Authors, Enveloping Myths, Bernard Toale Gallery, Boston, MA

Art History and Its Discontents, Hobart Smith College Gallery, Geneva

Revealing Desire, Cristinerose Gallery, New York


4 Person show, S.L. Simpson Gallery, Toronto Canada

More than Real, Gallery 400, University of Illinois at Chicago

Dreaming of You, Garnet Press Gallery, Toronto, Canada

Power, Pleasure, Pain: Contemporary Women Artists and the Female Body,

Fogg Museum, Harvard University, Cambridge, MA

Nicole Klagsbrun Gallery, New York (3 person show with Melissa Gwyn Miller and Hilla Lulu Lin)


All the World’s a Stage, Marsh Fogel Gallery, East Hampton, NY

Smash Mega Hits, Garnet Press Gallery, Toronto, Canada


The Auto Erotic Object, Hunter College Gallery, New York

Between the Sheets, P.P.O.W. Gallery, New York

Nature Lover, Windows on White Street, 51 White Street, New York, NY


Holzl, Ingrid, “Blast-Off Photography: Nancy Davenport and Expanded Photography” in History of Photography, Volume 36, pp 1-133, Routledge, UK


BLIND SPOT Magazine, Issue 42, Guest Editor: Liz Deschenes

Beckman, Karen, “CRASH: Cinema and the Politics of Speed and Stasis”, Duke University Press, Durham and London

Coggins, David, “In the Studio: Nancy Davenport”, Art in America, May


Rosenberg, Karen, “Custom Car Commando”, New York Times, Art Review, February 27

Workers Leaving the Factory”, Detroit Metro Times, May 15

X.Tresaco, “Best New York Art 2009″, Theredoom Publishing


Carlson, Benjamin, “Not Quite How I Remember It”, Frieze, October

Copeland, Colette, “Visible Disillusionment”, Afterimage, 36/3

Nunez, Monica, “Nancy Davenport”, Liverpool Biennial catalogue Dorment, Richard, “Liverpool Biennial:

Made Up”, Telegraph UK Sept 22

Beckman/Ma, “Still Moving: Between Cinema and Photography”, Duke University Press, pp. 110-123

Reckitt, Helena, “Not Quite How I Remember It”, The Power Plant

Zeppetelli, John, “ReConstitutions/ReEnactments”, DHC/Art, 2008

Mavrikakis, Nicolas, “Recyclages et déconstructions”, VOIR, 28 février

Bélisle, Jean-François, “ReConstitutions”, CV79, Éte/Summer 2008

Lévy, Bernard, “Voir, Re-Voir”, Vie des Arts, no.210, avril 2008

Cloutier, Mario, “Re-Constitutions chez DHC”, La Presse, 2 mai 2008

Redfern, Christine, “Viewing the past through eyes of a lens”, The Gazette, March 1, 2008


Sundell, Margaret, “Vitamin Ph: New Perspectives inPhotography”, Phaidon Press, pp. 74-75

Pollack, Barbara, “On View”, Photograph, September/October 2006

Interview, “Lesson Plans: Discussion between Nancy Davenport & Barbara Pollack”, Atlantica 41-42, pp 4-21

Griffin, Jonathan, “Campus,” Frieze, February

Herbert, Martin, “Campus”, Art Monthly, November

Smith, Adrian, “Spirit of ’68 Alive in University Perspectives”, The Times Higher, November 14


Baker, George, “Photography’s Expanded Field”, OCTOBER, issue 114, pp120-140 and back cover

Lipkin, Jonathan, “Photography Reborn: Image Making in the Digital Era”, Harry N. Abrahms Inc, pp101-102

Haus, Mary, “Struck by Lightning,” Artnews, February


Zeaman, John, “What you See is Not Necessarily What you Get,” The Record, November 28

Pollack, Barbara, Time Out New York, Art Listings: ‘Campus’, March 18 – 25,. p.72

Ritchin, Fred, “Strangers: The First ICP Triennial”, Aperture, Spring, pp. 4-6.


Pollack, Barbara, “Everyone Has an Ennial; Now It’s Photography’s Turn”,The New York Times, September 7.

Gambari, Olga, “In Mostra: Nancy Davenport/ Photo&Contemporary, Torino,”

Flash Art, December-January 2003, page 125. Italian Edition.


Sundell, Margaret, Time Out New York, Art Listings: ‘PC Revolution’, December 5 – 12, p.68

Sundell, Margaret, “A Conversation with Nancy Davenport” Documents,Issue 22, Fall 2002

Graham-Dixon, Andrew, “Art: After the Fall” Vogue (British Edition), September, p. 167 – 172.

Concert’ by Nancy Davenport, “Failure” issue of Cabinet, Summer,p. 122.

Groothuis, Marjan, “Metropolitan icons at PROA” Buenos Aires Herald, July 14, p.11

Rohter, Larry, “A Tilt Toward the Third World at the Sao Paul Biennial”, The New York Times, May 27, 2002

Artist Questionnaire Nancy Davenport, October 100, Spring, pp. 64 – 67.

Baker, George, “Openings: Nancy Davenport”, Artforum, February.

Volk, Gregory, “Nancy Davenport at Nicole Klagsbrun”, Art in America, January


Yoshimoto, Midori, “Too Perfect a Timing: Collages of Terrorist Images”, Geijustu Shincho, December 2001

Tomii, Reiko, “From New York”, The Shin bijutsu shinbun, November 2001.

Thomas, Kelly Devine, “Aftershocks” ArtNews, November 2001

Pollack, Barbara, “New York Reviews”, ArtNews, November 2001

Lerner, Adam, “Moving Pictures”, Artforum, November 2001

Cypriano, Fabio, “Terrorismo sera tema na sala de NY na Bienal de SP”,Folha de.Paulo, September 8, 2001

Stankus, Kristy, “Art And Life”, Culture Shock, September 28, 2001

Vince Aletti, “Photo Realism,” Village Voice, September 25, 2001, pg. 74

Roberta Smith, “In New York’s Galleries, a New Context Seems to Remake the Art”, The New York Times, September 19th, 2001

Ken Johnson, “Galleries; Chelsea”, The New York Times, September 21


Kerri Embry, Andreas Kahre, “Accident-Prone, Nancy Davenport”, Front, May – June


P. Elaine Sharp, “Raw Sublime”, York University Press, Fall George Baker, “Marvelous Catastrophes”, catalog essay, Mercer Union


Jennifer Gonzalez, “Beauty will be Compulsive”, catalog essay, La Centrale, October

Tessera, “Feminism and Self-Help”, photo spread, V.23, Winter

Gregory Volk, World Art, No.13, Summer

Dominique Nahas, Review Magazine, November


Tessera, “Writing Nations”, cover & feature, V.18, Summer Shawn Hill, “At Arm’s Length”, Bay Windows, April 13


Deborah Bright, “Photography on the Front Lines”, Exposure, V.29

Sue Canning, The New Art Examiner, Summer

Ewa Lajer-Burcharth, “Art and Difference in Public Space”, Harvard Gazette, April 8

Juli Carson, “Lying to tell the truth, telling the truth to lie”, catalog essay, Gracie Mansion Gallery, February

Elizabeth Mansfield, “Power, Pleasure, Pain: Contemporary Women

Artists and the Female Body”, catalog essay, Harvard University Art Museums, March

Kim Levin, The Village Voice, March 29


Phyllis Braff, The New York Times, August 1

Hamish Buchanan, “Elegant Explosion”, Xtra Magazine, July 23

Oliver Girling, “Mad, Bad & Dangerous”, Eye Magazine, July 29


Kim Levin, “Voice Choice”, The Village Voice, October 20

Roberta Smith, The New York Times, May 15

Elizabeth Hess, “Dirty Laundry”, The Village Voice, May 12

Kim Levin, The Village Voice, May 12


Abigail Cohen Rome Prize


DHC/Art Grant, DHC/Art, Montréal


Andy Warhol Foundation Inaugural Visual Arts Writing Grant


Anonymous was a Woman Foundation Award


Canada Council Visual Arts Grant


Canada Council Visual Arts Grant


Canada Council Short Term Grant


Canada Council Short Term Grant