Croy Nielsen

Mitchell Syrop

Images

Mitchell Syrop, installation view It is better to shine than to reflect, Midway Contemporary Art, Minneapolis, 2014

Mitchell Syrop, installation view It is better to shine than to reflect, Midway Contemporary Art, Minneapolis, 2014

Mitchell Syrop, Lift and Separate, 1984, black and white photographs mounted on board, each, 59,4 × 49,5 × 2,5 cm

Mitchell Syrop, Lift and Separate, 1984, black and white photographs mounted on board, each, 59,4 × 49,5 × 2,5 cm

Mitchell Syrop, It is better to shine than to reflect., 1984, silver gelatin photograph on board, 101,6 × 76,2 cm

Mitchell Syrop, It is better to shine than to reflect., 1984, silver gelatin photograph on board, 101,6 × 76,2 cm

Mitchell Syrop, installation view It is better to shine than to reflect, Midway Contemporary Art, Minneapolis, 2014

Mitchell Syrop, installation view It is better to shine than to reflect, Midway Contemporary Art, Minneapolis, 2014

Mitchell Syrop, All Systems Go, 1985,hand-colored oil on silver gelatin photograph, 121,9 × 152,4 cm

Mitchell Syrop, All Systems Go, 1985,hand-colored oil on silver gelatin photograph, 121,9 × 152,4 cm

Mitchell Syrop,  All men are created equal…, 1982, silver gelatin photograph on board, 100,9 × 75,5 cm

Mitchell Syrop, All men are created equal…, 1982, silver gelatin photograph on board, 100,9 × 75,5 cm

Mitchell Syrop, Sit in Judgment, 1982, four color silkscreen, 71,1 × 170,1 cm

Mitchell Syrop, Sit in Judgment, 1982, four color silkscreen, 71,1 × 170,1 cm

Mitchell Syrop, __F (Midway Version), 1974 – Present, laser print on board, monofilament, lead anchors, aluminum, 363,2 × 820,4 × 2,5 cm

Mitchell Syrop, __F (Midway Version), 1974 – Present, laser print on board, monofilament, lead anchors, aluminum, 363,2 × 820,4 × 2,5 cm

Mitchell Syrop, __F (Midway Version), 1974 – Present (detail), laser print on board, monofilament, lead anchors, aluminum, 363,2 × 820,4 × 2,5 cm

Mitchell Syrop, __F (Midway Version), 1974 – Present (detail), laser print on board, monofilament, lead anchors, aluminum, 363,2 × 820,4 × 2,5 cm

Mitchell Syrop, installation view On the Line, LACE, Los Angeles, 2011

Mitchell Syrop, installation view On the Line, LACE, Los Angeles, 2011

Mitchell Syrop, This Is My Work, 2011, acrylic on board, 40,6 × 50,8 cm

Mitchell Syrop, This Is My Work, 2011, acrylic on board, 40,6 × 50,8 cm

Mitchell Syrop, Untitled, 2003, Pigment Print, 101,6 × 152,4 cm

Mitchell Syrop, Untitled, 2003, Pigment Print, 101,6 × 152,4 cm

Mitchell Syrop, installation view, Rosamund Felsen Gallery, Los Angeles, 1993

Mitchell Syrop, installation view, Rosamund Felsen Gallery, Los Angeles, 1993

Mitchell Syrop, installation view, Rosamund Felsen Gallery, Los Angeles, 1993

Mitchell Syrop, installation view, Rosamund Felsen Gallery, Los Angeles, 1993

Mitchell Syrop, installation view Kuhlenschmidt Simon Gallery, Los Angeles, 1988

Mitchell Syrop, installation view Kuhlenschmidt Simon Gallery, Los Angeles, 1988

Mitchell Syrop, Academic Freedom, 1988, torn poster on board

Mitchell Syrop, Academic Freedom, 1988, torn poster on board

Mitchell Syrop, Stage Coach, 1988, torn poster on board

Mitchell Syrop, Stage Coach, 1988, torn poster on board

Mitchell Syrop, installation view, Kuhlenschmidt Simon Gallery, Los Angeles, 1986

Mitchell Syrop, installation view, Kuhlenschmidt Simon Gallery, Los Angeles, 1986

Mitchell Syrop, Clutch Throttle Choke, 1985, Black & Silver Metallic emulsion photograph, 60,9 × 50,8 cm

Mitchell Syrop, Clutch Throttle Choke, 1985, Black & Silver Metallic emulsion photograph, 60,9 × 50,8 cm

Mitchell Syrop, Be. Have., 1986, Oil color on B&W photographs, 76,2 × 101,6 cm

Mitchell Syrop, Be. Have., 1986, Oil color on B&W photographs, 76,2 × 101,6 cm

Mitchell Syrop, Striking Distance, 1987 (detail),oil color on B&W photographs, 101,6 × 101,6 cm

Mitchell Syrop, Striking Distance, 1987 (detail),oil color on B&W photographs, 101,6 × 101,6 cm

Mitchell Syrop, Striking Distance, 1987 (detail),oil color on B&W photographs, 101,6 × 101,6 cm

Mitchell Syrop, Striking Distance, 1987 (detail),oil color on B&W photographs, 101,6 × 101,6 cm

CV

Mitchell Syrop

*1953, New York — Lives and works in Los Angeles

Education

1987
MFA, California Institute of the Arts, Santa Clarita, CA

1975
BFA, Pratt Institute, Brooklyn, NY

Selected Solo exhibitions

2015
Niza Guy, Francois Ghebaly Gallery, Los Angeles
The Same Mistake, Croy Nielsen, Berlin

2014
It is Better to Shine Than to Reflect, Midway Contemporary Arts, Minneapolis
Hidden, Midway Contemporary Arts, Minneapolis
Gallery 3001 and the Chapel gallery at USC Roski School of Fine Arts & Design

2012
Thomas Solomon Gallery, Los Angeles

2011
WPA Gallery, Los Angeles

2004
Rosamund Felsen Gallery, Los Angeles

2001
Spokane Falls College, Spokane

1998
The Same Mistake, Rosamund Felsen Gallery, Los Angeles

1997
Galeria Oliva Arauna, Madrid

1996
Rosamund Felsen Gallery, Los Angeles

1994
Why I Wish I Was Dead, Santa Monica Museum of Art

1993
aralysis Agitans, Rosamund Felsen Gallery, Los Angeles
Galeria Oliva Arauna, Madrid

1992
Rosamund Felsen Gallery, Los Angeles

1990
Galeria Oliva Arauna, Madrid, Spain
Lieberman & Saul Gallery, New York

1989
University Art Museum, University of California, Santa Barbara
Lieberman & Saul Gallery, New York

1988
Kuhlenschmidt-Simon, Los Angeles

1987
Matrix Gallery, University Art Museum, University of California, Berkeley

1986
Kuhlenschmidt-Simon, Los Angeles

1984
Richard Kuhlenschmidt Gallery, Los Angeles

Selected Group Exhibitions

2016
Le Merite, Treize, Paris

2015
Tina, a group show, Spike, Berlin

2014
Who Are Who, Studio for Propositional Cinema, Düsseldorf

2013
The Avant-Garde Collection, Orange County Museum of Art, Newport Harbor
California-Pacific Triennial, Orange County Museum of Art, Newport Harbor
Syrop & Chang, Chapman University, Orange

2011
On the Line, Los Angeles Contemporary Exhibitions (L.A.C.E.)

2008
California Video, J. Paul Getty Museum and the Getty Research Institute, Los Angeles
Index: Conceptualism In California From The Permanent Collection, Museum of Contemporary Art, Los Angeles

2007
Good Morning Midnight, Casey Kaplan Gallery, New York

2006
What Does This Mean? The Narrative Tradition, Tampa Museum of Art, Tampa

2005
Reality is an Activity of the Most August Imagination, Rental Gallery, Los Angeles

2004
Life Is With People, Richard Telles Fine Art, Los Angeles
Sign Language, Museum of Contemporary Art, Los Angeles

2003
Karl Haendel, Richard Kraft, Mitchell Syrop, Rosamund Felsen Gallery, Santa Monica

2000
Made in California: Art, Image, and Identity, 1900 – 2000, Los Angeles County Museum of Art, Los Angeles

1997
Trace, Randolf Street Gallery, Chicago
Four Los Angeles Artists, Robin Gibson Gallery, Sydney
Transformaciôn, Fundacion Marcelino Botin, Santander
Adolescents, Julie Saul Gallery, New York

1996
Works from the Collection of Aaron & Ann Nisenson, Los Angeles County Museum of Art, Los Angeles

1995
From L.A. With Love, Galerie Praz-Detavallade, Paris
A Glimpse of the Norton Collection: As Revealed by Kim Dingle, Santa Monica Museum of Art, Santa Monica

1994
Mindquake, Breda, Netherlands

1993
Not Painting: Some Views of the Permanent Collection, Museum of Contemporary Art, Los Angeles
Commodity Image, International Center of Photography, New York
L.A. Stories, Jack Rutberg Fine Arts, Los Angeles
X-Treme Research, California State University, Los Angeles

1992
Special Collections: The Photographic Order from Pop to Now, International Center of Photography, New York

1991
Body/​Language, the Lannan Foundation, Los Angeles
Individual Realities, Sezon Museum, Tokyo, Tsukashin Hall, Osaka
Different Stories: Five Views of the Collection, Newport Harbor Art Museum, Newport

1990
Hacia el Paisaje (Toward Landscape), Centro Atlantico de Arte Moderno, Las Palmas
L.A.: My Third Lady, Tanja Grunert Gallery, Cologne
Word As Image: American Art, 1960 – 1990, Contemporary Arts Museum, Houston
Constructing A History: A Focus on MOCA’s Permanent Collection, Museum of Contemporary Art, Los Angeles
Roy Boyd Gallery, Los Angeles.
I to Eye, Cirrus Gallery, Los Angeles

1989
A Forest of Signs: Art in the Crisis of Representation, Museum of Contemporary Art, Los Angeles
AIDS Timeline, University Art Museum, Berkeley, CA
The Wadsworth Atheneum, Hartford
The Photography of Invention: American Pictures of the Eighties, National Museum of American Art Washington, DC
traveled to: Museum of Contemporary Art, Chicago Walker Art Center, Minneapolis
Loaded, Richard Kuhlenschmidt Gallery, Santa Monica
Logical Conclusion, Jan Kesner Gallery, Los Angeles

Publications

1989
Forest of Signs, Catalogue, edited by Ann Goldstein, Museum of Contemporary Art, Los Angeles

1987
L.A. Hot and Cool, Catalogue, edited by Dana Friis-Hansen, M.I.T., List Visual Arts Center, Boston

1983
Headhunters, Catalogue, edited by Timothy Martin, Los Angeles Contemporary Exhibitions, Los Angeles
Los Angeles/​New York Exchange, Catalogue, edited by Susan Larsen, Artists Space, Los Angeles

Press (selected)

2016
Saint Laurent Special Zine collaboration with artist Mitchell Syrop”, Autre​.love, February 10

2015
Cohn, Hana, Mitchell Syrop at François Ghebaly Gallery”, Contemporary Art Review, December 9
Barshee, Tenzing, Pastime With Mitchell Syrop or Life is Just a Feeling”, Starship Magazine, spring, no. 12

2014
Gabler, Jay, Minneapolis, Mitchell Syrop”, review, Artforum, September

2013
Muller, Mario, California-Pacific Triennial at The Orange County Museum of Art”, review, Glas​stire​.com, May

2012
Taft, Catherine, Mitchell Syrop”, review, Artforum, May

2007
Smith, Roberta, The color line, at Jack Shainman Gallery”, review, New York Times, July 27

2004
Carlson, Lance, review, Art US

1998
Iannaccone, Carmine, Mitchell Syrop”, review, Frieze, June 6, issue 41
Muchnic, Suzanne, Cohesive Show Looks at Life from Distance’”, review, Los Angeles Times, April 17
Pascher, Stephan, review, The Thing, April

1997
Cotter, Holland, Adolescents, at Julie Saul Gallery”, review, New York Times, August 1
Perchuk, Andrew, After Pierre Menard”, Catalogue essay, Chapman University, February

1996
Tumlir, Jan, review, Artweek, 3/96
Calame, Ingrid, Mitchell Syrop at Rosamund Felsen”, Art issues., March/​April, no. 42

1994
Green, David A., K.l.T. and Have a Bitchin Summer”, L.A. Reader, April 8
Pagel, David, Syrop’s Dead’: Chilling, Mind Boggling”, L.A. Times, April

1993
Duncan, Michael, Art In America Magazine, December
Muchnic, Suzanne, review, ArtNews, December
Huici, Fernando, Identidad Y Memoria”, El Pais, May 17

1992
Weissman, Benjamin, Mitchell Syrop, Rosamund Felsen Gallery”, review, Artforum, November
Martin, Timothy, Them: Mitchell Syrop’s Reconstructed Student Body”, Art Issues, September
Knight, Christopher, Constellations: Yearbook of Adolescent Yearning”, Los Angeles Times, April 23
Heyler, Joanne, High School Referential: Syrop Turns Yearbook Images Into Environment”, Los Angeles Reader, May 1

1990
Danvila, Jose Ramon, Mitchell Syrop, El Otro Sentido de la Palabra”, El Punto Spain, December

1989
Hapgood, Susan, review, Art in America Magazine, December
Drohojowska, Hunter, Stop Making Sense”, ARTnews, October
Wilson, William, Forest of Signs”, review, Los Angeles Times, July 5

1988
Gardner, Colin, CalArts: Skeptical Belief(s) at Newport Harbor Art Museum”, Artforum, April
Raczka, Robert, MOCA Sights Local Artists in Striking Distance”, New Art Examiner, July
Goldstein, Ann, Striking Distance”, Catalogue essay, MOCA, April

1987
Gardner, Colin, Mitchell Syrop, Kuhlenschmidt/​Simon Gallery”, review, Artforum, January
Relyea, Lane, review, Art In America Magazine, March
Cotter, Holland, Eight Artists Interviewed”, Art In America Magazine, May
Lewallen, Connie, essay, Matrix Gallery, University Art Museum, Berkeley, November
Cubbs, Joanne, Truth and Fiction in the Photographic Image”, Catalogue essay, Kohler Arts Center

1986
Drohojowska, Hunter, The Artists Who Matter: L.A.’s New Scene Makes History”, Antiques & Fine Art, December
Suderburg, Erika, Penetrating Coverage”, Artweek, November 8
Knight, Christopher, Darwin Meets Madison Avenue in Syrop’s A Plied Art’”, Herald Examiner, December 11
Gardner, Cohn, review, Los Angeles Times, October 24
Stein, Donna and Zelevansky, Lynn,“Products and Promotion”, catalog essay, San Francisco Cameraworks, September
Rugoff, Ralph, Art Scene L.A.”, L.A. Style, July

1984
Knight, Christopher, Mitchell Syrop’s Art: Ads With A Graphic Twist”, Los Angeles Herald Examiner, May 2
Drohojowska, Hunter, review, L.A. Weekly, April

1983
Knight, Christopher, Art That Makes Familiar Objects Seem Remote”, Los Angeles Herald Examiner, August 14
Russell, John, review, New York Times, June 24
Brumfield, John, On Meaning and Significance”, LAICA Journal from Los Angeles Institute of Contemporary Art, October

1978
Stodder, John, Thirty Seconds in Prime Time”, Artweek, October 11

Images

Mitchell Syrop

*1953, New York — Lives and works in Los Angeles

Mitchell Syrop, installation view It is better to shine than to reflect, Midway Contemporary Art, Minneapolis, 2014

Mitchell Syrop, installation view It is better to shine than to reflect, Midway Contemporary Art, Minneapolis, 2014

Mitchell Syrop, Lift and Separate, 1984, black and white photographs mounted on board, each, 59,4 × 49,5 × 2,5 cm

Mitchell Syrop, Lift and Separate, 1984, black and white photographs mounted on board, each, 59,4 × 49,5 × 2,5 cm

Mitchell Syrop, It is better to shine than to reflect., 1984, silver gelatin photograph on board, 101,6 × 76,2 cm

Mitchell Syrop, It is better to shine than to reflect., 1984, silver gelatin photograph on board, 101,6 × 76,2 cm

Mitchell Syrop, installation view It is better to shine than to reflect, Midway Contemporary Art, Minneapolis, 2014

Mitchell Syrop, installation view It is better to shine than to reflect, Midway Contemporary Art, Minneapolis, 2014

Mitchell Syrop, All Systems Go, 1985,hand-colored oil on silver gelatin photograph, 121,9 × 152,4 cm

Mitchell Syrop, All Systems Go, 1985,hand-colored oil on silver gelatin photograph, 121,9 × 152,4 cm

Mitchell Syrop,  All men are created equal…, 1982, silver gelatin photograph on board, 100,9 × 75,5 cm

Mitchell Syrop, All men are created equal…, 1982, silver gelatin photograph on board, 100,9 × 75,5 cm

Mitchell Syrop, Sit in Judgment, 1982, four color silkscreen, 71,1 × 170,1 cm

Mitchell Syrop, Sit in Judgment, 1982, four color silkscreen, 71,1 × 170,1 cm

Mitchell Syrop, __F (Midway Version), 1974 – Present, laser print on board, monofilament, lead anchors, aluminum, 363,2 × 820,4 × 2,5 cm

Mitchell Syrop, __F (Midway Version), 1974 – Present, laser print on board, monofilament, lead anchors, aluminum, 363,2 × 820,4 × 2,5 cm

Mitchell Syrop, __F (Midway Version), 1974 – Present (detail), laser print on board, monofilament, lead anchors, aluminum, 363,2 × 820,4 × 2,5 cm

Mitchell Syrop, __F (Midway Version), 1974 – Present (detail), laser print on board, monofilament, lead anchors, aluminum, 363,2 × 820,4 × 2,5 cm

Mitchell Syrop, installation view On the Line, LACE, Los Angeles, 2011

Mitchell Syrop, installation view On the Line, LACE, Los Angeles, 2011

Mitchell Syrop, This Is My Work, 2011, acrylic on board, 40,6 × 50,8 cm

Mitchell Syrop, This Is My Work, 2011, acrylic on board, 40,6 × 50,8 cm

Mitchell Syrop, Untitled, 2003, Pigment Print, 101,6 × 152,4 cm

Mitchell Syrop, Untitled, 2003, Pigment Print, 101,6 × 152,4 cm

Mitchell Syrop, installation view, Rosamund Felsen Gallery, Los Angeles, 1993

Mitchell Syrop, installation view, Rosamund Felsen Gallery, Los Angeles, 1993

Mitchell Syrop, installation view, Rosamund Felsen Gallery, Los Angeles, 1993

Mitchell Syrop, installation view, Rosamund Felsen Gallery, Los Angeles, 1993

Mitchell Syrop, installation view Kuhlenschmidt Simon Gallery, Los Angeles, 1988

Mitchell Syrop, installation view Kuhlenschmidt Simon Gallery, Los Angeles, 1988

Mitchell Syrop, Academic Freedom, 1988, torn poster on board

Mitchell Syrop, Academic Freedom, 1988, torn poster on board

Mitchell Syrop, Stage Coach, 1988, torn poster on board

Mitchell Syrop, Stage Coach, 1988, torn poster on board

Mitchell Syrop, installation view, Kuhlenschmidt Simon Gallery, Los Angeles, 1986

Mitchell Syrop, installation view, Kuhlenschmidt Simon Gallery, Los Angeles, 1986

Mitchell Syrop, Clutch Throttle Choke, 1985, Black & Silver Metallic emulsion photograph, 60,9 × 50,8 cm

Mitchell Syrop, Clutch Throttle Choke, 1985, Black & Silver Metallic emulsion photograph, 60,9 × 50,8 cm

Mitchell Syrop, Be. Have., 1986, Oil color on B&W photographs, 76,2 × 101,6 cm

Mitchell Syrop, Be. Have., 1986, Oil color on B&W photographs, 76,2 × 101,6 cm

Mitchell Syrop, Striking Distance, 1987 (detail),oil color on B&W photographs, 101,6 × 101,6 cm

Mitchell Syrop, Striking Distance, 1987 (detail),oil color on B&W photographs, 101,6 × 101,6 cm

Mitchell Syrop, Striking Distance, 1987 (detail),oil color on B&W photographs, 101,6 × 101,6 cm

Mitchell Syrop, Striking Distance, 1987 (detail),oil color on B&W photographs, 101,6 × 101,6 cm

CV

Mitchell Syrop

*1953, New York — Lives and works in Los Angeles

Education

1987
MFA, California Institute of the Arts, Santa Clarita, CA

1975
BFA, Pratt Institute, Brooklyn, NY

Selected Solo exhibitions

2015
Niza Guy, Francois Ghebaly Gallery, Los Angeles
The Same Mistake, Croy Nielsen, Berlin

2014
It is Better to Shine Than to Reflect, Midway Contemporary Arts, Minneapolis
Hidden, Midway Contemporary Arts, Minneapolis
Gallery 3001 and the Chapel gallery at USC Roski School of Fine Arts & Design

2012
Thomas Solomon Gallery, Los Angeles

2011
WPA Gallery, Los Angeles

2004
Rosamund Felsen Gallery, Los Angeles

2001
Spokane Falls College, Spokane

1998
The Same Mistake, Rosamund Felsen Gallery, Los Angeles

1997
Galeria Oliva Arauna, Madrid

1996
Rosamund Felsen Gallery, Los Angeles

1994
Why I Wish I Was Dead, Santa Monica Museum of Art

1993
aralysis Agitans, Rosamund Felsen Gallery, Los Angeles
Galeria Oliva Arauna, Madrid

1992
Rosamund Felsen Gallery, Los Angeles

1990
Galeria Oliva Arauna, Madrid, Spain
Lieberman & Saul Gallery, New York

1989
University Art Museum, University of California, Santa Barbara
Lieberman & Saul Gallery, New York

1988
Kuhlenschmidt-Simon, Los Angeles

1987
Matrix Gallery, University Art Museum, University of California, Berkeley

1986
Kuhlenschmidt-Simon, Los Angeles

1984
Richard Kuhlenschmidt Gallery, Los Angeles

Selected Group Exhibitions

2016
Le Merite, Treize, Paris

2015
Tina, a group show, Spike, Berlin

2014
Who Are Who, Studio for Propositional Cinema, Düsseldorf

2013
The Avant-Garde Collection, Orange County Museum of Art, Newport Harbor
California-Pacific Triennial, Orange County Museum of Art, Newport Harbor
Syrop & Chang, Chapman University, Orange

2011
On the Line, Los Angeles Contemporary Exhibitions (L.A.C.E.)

2008
California Video, J. Paul Getty Museum and the Getty Research Institute, Los Angeles
Index: Conceptualism In California From The Permanent Collection, Museum of Contemporary Art, Los Angeles

2007
Good Morning Midnight, Casey Kaplan Gallery, New York

2006
What Does This Mean? The Narrative Tradition, Tampa Museum of Art, Tampa

2005
Reality is an Activity of the Most August Imagination, Rental Gallery, Los Angeles

2004
Life Is With People, Richard Telles Fine Art, Los Angeles
Sign Language, Museum of Contemporary Art, Los Angeles

2003
Karl Haendel, Richard Kraft, Mitchell Syrop, Rosamund Felsen Gallery, Santa Monica

2000
Made in California: Art, Image, and Identity, 1900 – 2000, Los Angeles County Museum of Art, Los Angeles

1997
Trace, Randolf Street Gallery, Chicago
Four Los Angeles Artists, Robin Gibson Gallery, Sydney
Transformaciôn, Fundacion Marcelino Botin, Santander
Adolescents, Julie Saul Gallery, New York

1996
Works from the Collection of Aaron & Ann Nisenson, Los Angeles County Museum of Art, Los Angeles

1995
From L.A. With Love, Galerie Praz-Detavallade, Paris
A Glimpse of the Norton Collection: As Revealed by Kim Dingle, Santa Monica Museum of Art, Santa Monica

1994
Mindquake, Breda, Netherlands

1993
Not Painting: Some Views of the Permanent Collection, Museum of Contemporary Art, Los Angeles
Commodity Image, International Center of Photography, New York
L.A. Stories, Jack Rutberg Fine Arts, Los Angeles
X-Treme Research, California State University, Los Angeles

1992
Special Collections: The Photographic Order from Pop to Now, International Center of Photography, New York

1991
Body/​Language, the Lannan Foundation, Los Angeles
Individual Realities, Sezon Museum, Tokyo, Tsukashin Hall, Osaka
Different Stories: Five Views of the Collection, Newport Harbor Art Museum, Newport

1990
Hacia el Paisaje (Toward Landscape), Centro Atlantico de Arte Moderno, Las Palmas
L.A.: My Third Lady, Tanja Grunert Gallery, Cologne
Word As Image: American Art, 1960 – 1990, Contemporary Arts Museum, Houston
Constructing A History: A Focus on MOCA’s Permanent Collection, Museum of Contemporary Art, Los Angeles
Roy Boyd Gallery, Los Angeles.
I to Eye, Cirrus Gallery, Los Angeles

1989
A Forest of Signs: Art in the Crisis of Representation, Museum of Contemporary Art, Los Angeles
AIDS Timeline, University Art Museum, Berkeley, CA
The Wadsworth Atheneum, Hartford
The Photography of Invention: American Pictures of the Eighties, National Museum of American Art Washington, DC
traveled to: Museum of Contemporary Art, Chicago Walker Art Center, Minneapolis
Loaded, Richard Kuhlenschmidt Gallery, Santa Monica
Logical Conclusion, Jan Kesner Gallery, Los Angeles

Publications

1989
Forest of Signs, Catalogue, edited by Ann Goldstein, Museum of Contemporary Art, Los Angeles

1987
L.A. Hot and Cool, Catalogue, edited by Dana Friis-Hansen, M.I.T., List Visual Arts Center, Boston

1983
Headhunters, Catalogue, edited by Timothy Martin, Los Angeles Contemporary Exhibitions, Los Angeles
Los Angeles/​New York Exchange, Catalogue, edited by Susan Larsen, Artists Space, Los Angeles

Press (selected)

2016
Saint Laurent Special Zine collaboration with artist Mitchell Syrop”, Autre​.love, February 10

2015
Cohn, Hana, Mitchell Syrop at François Ghebaly Gallery”, Contemporary Art Review, December 9
Barshee, Tenzing, Pastime With Mitchell Syrop or Life is Just a Feeling”, Starship Magazine, spring, no. 12

2014
Gabler, Jay, Minneapolis, Mitchell Syrop”, review, Artforum, September

2013
Muller, Mario, California-Pacific Triennial at The Orange County Museum of Art”, review, Glas​stire​.com, May

2012
Taft, Catherine, Mitchell Syrop”, review, Artforum, May

2007
Smith, Roberta, The color line, at Jack Shainman Gallery”, review, New York Times, July 27

2004
Carlson, Lance, review, Art US

1998
Iannaccone, Carmine, Mitchell Syrop”, review, Frieze, June 6, issue 41
Muchnic, Suzanne, Cohesive Show Looks at Life from Distance’”, review, Los Angeles Times, April 17
Pascher, Stephan, review, The Thing, April

1997
Cotter, Holland, Adolescents, at Julie Saul Gallery”, review, New York Times, August 1
Perchuk, Andrew, After Pierre Menard”, Catalogue essay, Chapman University, February

1996
Tumlir, Jan, review, Artweek, 3/96
Calame, Ingrid, Mitchell Syrop at Rosamund Felsen”, Art issues., March/​April, no. 42

1994
Green, David A., K.l.T. and Have a Bitchin Summer”, L.A. Reader, April 8
Pagel, David, Syrop’s Dead’: Chilling, Mind Boggling”, L.A. Times, April

1993
Duncan, Michael, Art In America Magazine, December
Muchnic, Suzanne, review, ArtNews, December
Huici, Fernando, Identidad Y Memoria”, El Pais, May 17

1992
Weissman, Benjamin, Mitchell Syrop, Rosamund Felsen Gallery”, review, Artforum, November
Martin, Timothy, Them: Mitchell Syrop’s Reconstructed Student Body”, Art Issues, September
Knight, Christopher, Constellations: Yearbook of Adolescent Yearning”, Los Angeles Times, April 23
Heyler, Joanne, High School Referential: Syrop Turns Yearbook Images Into Environment”, Los Angeles Reader, May 1

1990
Danvila, Jose Ramon, Mitchell Syrop, El Otro Sentido de la Palabra”, El Punto Spain, December

1989
Hapgood, Susan, review, Art in America Magazine, December
Drohojowska, Hunter, Stop Making Sense”, ARTnews, October
Wilson, William, Forest of Signs”, review, Los Angeles Times, July 5

1988
Gardner, Colin, CalArts: Skeptical Belief(s) at Newport Harbor Art Museum”, Artforum, April
Raczka, Robert, MOCA Sights Local Artists in Striking Distance”, New Art Examiner, July
Goldstein, Ann, Striking Distance”, Catalogue essay, MOCA, April

1987
Gardner, Colin, Mitchell Syrop, Kuhlenschmidt/​Simon Gallery”, review, Artforum, January
Relyea, Lane, review, Art In America Magazine, March
Cotter, Holland, Eight Artists Interviewed”, Art In America Magazine, May
Lewallen, Connie, essay, Matrix Gallery, University Art Museum, Berkeley, November
Cubbs, Joanne, Truth and Fiction in the Photographic Image”, Catalogue essay, Kohler Arts Center

1986
Drohojowska, Hunter, The Artists Who Matter: L.A.’s New Scene Makes History”, Antiques & Fine Art, December
Suderburg, Erika, Penetrating Coverage”, Artweek, November 8
Knight, Christopher, Darwin Meets Madison Avenue in Syrop’s A Plied Art’”, Herald Examiner, December 11
Gardner, Cohn, review, Los Angeles Times, October 24
Stein, Donna and Zelevansky, Lynn,“Products and Promotion”, catalog essay, San Francisco Cameraworks, September
Rugoff, Ralph, Art Scene L.A.”, L.A. Style, July

1984
Knight, Christopher, Mitchell Syrop’s Art: Ads With A Graphic Twist”, Los Angeles Herald Examiner, May 2
Drohojowska, Hunter, review, L.A. Weekly, April

1983
Knight, Christopher, Art That Makes Familiar Objects Seem Remote”, Los Angeles Herald Examiner, August 14
Russell, John, review, New York Times, June 24
Brumfield, John, On Meaning and Significance”, LAICA Journal from Los Angeles Institute of Contemporary Art, October

1978
Stodder, John, Thirty Seconds in Prime Time”, Artweek, October 11