Henry Taylor’s imprint on the American cultural landscape comes from his disruption of tradition. While people figure prominently in Taylor’s work, he rejects the label of portraitist. Taylor’s chosen subjects are only one piece of the larger cultural narrative that they represent: his paintings reveal the forces at play, both individualistic and societal, that come to bear on his subject. The end result is not a mere idealized image, but a complete narrative of a person and his history. Taylor explains this pursuit of representational truth: ‘It’s about respect, because I respect these people. It’s a two-dimensional surface, but they are really three-dimensional beings.’
Taylor is voracious and eclectic in his sourcing of subjects. This ‘hunting and gathering,’ as he defines it in his own words, is above all, an active process—one in which Taylor often mines his own history and experiences. In his studio, newspaper clippings and historical photographs of civil rights figures sit alongside his own snapshots of people both strange and familiar to him. This library of images, in turn, is surrounded by a collection of disparate objects that Taylor amasses from estate sales, his travels abroad, and local flea markets. Scattered across the studio spaces are infinite piles of historical tomes and artist’s monographs. All of these objects and visual documents eventually feature both in his paintings and as building blocks for totemic sculpture. But Taylor’s choice of painterly subject—from memory and archival materials, to the live sitter—is firmly dependent upon his sense of connection driven by empathy. His sumptuous depictions, painted rapidly and loosely, capture his subject’s nuances and mood with gestures and passages of flat, saturated acrylic color offset by areas of rich and intricate detail. The intensity with which he paints is reflected by his brushwork: a network of kinetic strokes that seek to capture a feeling before it flees. Taylor’s subjects, which range from members of the black community to symbolic objects representative of historical struggle, span the breadth of the human condition; each work is a holistic visual biography and permanent record of a person or people’s history.
Born in 1958 in Ventura, California, the youngest of eight children, Taylor’s initial exposure to the medium of painting came from his father, who was a commercial painter employed by the U.S. Government at a naval air station. In junior high school, Taylor began to vigorously absorb the tenets of major art historical movements spanning the Nineteenth and Twentieth centuries. Taylor later studied at Oxnard College, where he studied Journalism, Anthropology, and Set Design, and made the acquaintance of James Jarvaise, the Head of the Department of Fine and Performing Arts. Jervaise was instrumental in instilling the young painter with a sense of vocational efficacy that helped to focus Taylor’s efforts entirely on his artistic practice. Taylor’s formal training came in the 1990s when he studied at The California Institute of the Arts while also working as a psychiatric technician at Camarillo State Mental Hospital. It is here where Taylor developed his guiding sense of human connection while creating portraits of his patients. His practice evolved to exceed the boundaries of canvas: he began to paint the surfaces of found and discarded domestic objects like furniture, cereal boxes, empty cleaning bottles, and even packs of cigarettes. From these, Taylor creates assemblage sculptures, stacking and affixing disparate objects together to create, in some instances, faux African tribal masks from inverted Clorox bleach bottles erected on broomsticks.
What unifies Taylor’s practice across two and three dimensions is that it supersedes the confines of any traditional genre of painting and sculpture. His four-decade long practice combines pillars of figurative, landscape and history painting. Each result is a complete narrative that reflects the breadth and depth of his subject.
Taylor lives and works in Los Angeles. He has been the subject of numerous exhibitions in the United States and internationally, and his work is in prominent public collections including the Bourse de Commerce – Pinault Collection, Paris, France, The Bronx Museum of the Arts, Bronx NY, Carnegie Museum of Art, Pittsburg PA, The Fondation Louis Vuitton, Paris, France, Hammer Museum, Los Angeles CA, Institute of Contemporary Art, Boston MA, Los Angeles County Museum of Art, Los Angeles CA, The Metropolitan Museum of Art, New York NY, Museum of Contemporary Art, Los Angeles CA, Museum of Fine Art, Houston TX, Museum of Modern Art, New York NY, Nasher Museum of Art at Duke University, Durham NC, Pérez Art Museum, Miami FL, San Francisco Museum of Modern Art, San Francisco CA, The Studio Museum in Harlem, New York NY, and Whitney Museum of American Art, New York NY.
In 2018, Taylor was the recipient of The Robert De Niro, Sr. Prize in 2018 for his outstanding achievements in painting. Taylor’s work was presented at the Whitney Biennial at the Whitney Museum of American Art, New York NY in 2017 and 58th Venice Biennale, Venice, Italy in 2019.
 Sargent, Antwaun, ‘Examining Henry Taylor’s Groundbreaking Paintings of the Black Experience’, on: artsy.com, 16 July 2018
 Smith, Zadie, ‘Henry Taylor’s Promiscuous Painting’, on: newyorker.com, 23 July 2018
BFA, California Institute of the Arts, Valencia CA, 1995
Museum of Contemporary Art, ‘Henry Taylor’, Los Angeles CA
Hauser & Wirth, ‘Henry Taylor’, Somerset, UK
The High Line, ‘the floaters’, New York NY
Henry Taylor’s, ‘Henry Taylor. Camarillo State Hospital’, Los Angeles CA
The Mistake Room, ‘This Side, That Side’, Guadalajara, Mexico
Artpace, ‘They shot my dad, they shot my dad!’, San Antonio TX
Blum & Poe, ‘Henry Taylor’, New York NY
UNTITLED, ‘Henry Taylor’, New York NY
MoMA PS1, ‘Henry Taylor’, Long Island City NY
Mesler & Hug, Cardenas Bellenger, ‘Henry Taylor’, Los Angeles CA, Paris, France
Samson Projects, ‘Chicago Kin’, Boston MA
The Studio Museum in Harlem, ‘Sis and Bra’, New York NY
Nicola Vassell Gallery, 'Rested', New York NY
Los Angeles County Museum of Art, 'Black American Portraits', Los Angeles CA
The Metropolitan Museum of Art, 'Before Yesterday We Could Fly: An Afrofuturist Period Room', New York NY
Columbia Museum of Art, '30 Americans', Columbia SC (Travelling Exhibition)
Zabludowicz Collection, 'The Stand-Ins: Figurative Painting from the Collection', London, UK
Green Family Art Foundation, 'Black Bodies, White Spaces. Invisibility & Hypervisibility', cur. Aindrea Emelife, Dallas TX
Jeffrey Deitch, 'The Emerald Tablet', cur. Ariana Papademetropoulos, Los Angeles CA
The Church, 'Road Rage', cur. Eric Fischl, Sara Cochran, Sag Harbor NY
Frye Art Museum, 'Black Refractions: Highlights from the Studio Museum in Harlem', cur. Connie H. Choi, Seattle WA (Travelling Exhibition)
Galleri Opdahl, 'Pushing The Margins: A Survey of LA Artists', cur. Charles Gaines, Stavanger, Norway
New Museum, 'Grief and Grievance: Art and Mourning in America', New York NY
Utah Museum of Fine Arts, 'Black Refractions: Highlights from the Studio Museum in Harlem', cur. Connie H. Choi, Salt Lake City UT (Travelling Exhibition)
Punta della Dogana, ‘Untitled, 2020’, Venice, Italy
Bonnefantenmuseum, ‘Say it Loud’, Maastricht, Netherlands
American Academy of Arts and Letters, ‘2020 Invitational Exhibition of Visual Artists’, New York NY
Kunsthal KaDE, ‘Tell Me Your Story’, Amersfoort, Netherlands
Blum & Poe, ‘New Images of Man’, Los Angeles CA
Roberts Projects, ‘Wish You Were Here’, Culver City CA
Albuquerque Museum, ‘30 Americans’, Albuquerque NM (Travelling Exhibition)
Utah Museum of Fine Arts, ‘Black Refractions. Highlights from The Studio Museum in Harlem’, Salt Lake City UT (Travelling Exhibition)
Frye Art Museum, ‘Black Refractions. Highlights from The Studio Museum in Harlem’, Seattle WA (Travelling Exhibition)
Lehman College Art Gallery, ‘Young, Gifted and Black: The Lumpkin-Boccuzzi Family Collection of Contemporary Art’, The Bronx NY
Smith College Museum of Art, ‘Black Refractions. Highlights from The Studio Museum in Harlem’, Northampton MA (Travelling Exhibition)
Honolulu Museum of Art, ‘30 Americans’, Honolulu HI (Travelling Exhibition)
Kalamazoo Institute of the Arts, ‘Black Refractions: Highlights from The Studio Museum in Harlem’, Kalamazoo MI (Travelling Exhibition)
Jeffrey Deitch, ‘Punch’, cur. Nina Chanel Abney, Los Angeles CA
The Nelson-Atkins Museum of Art, ‘30 Americans’, Kansas City MO (Travelling Exhibition)
Gibbes Museum of Art, ‘Black Refractions: Highlights from The Studio Museum in Harlem’, Charleston SC (Travelling Exhibition)
58th Venice Biennale, ‘May You Live In Interesting Times’, cur. Ralph Rugoff, Venice, Italy
Serious Topics, ‘Dreamhouse Vs. Punk House (plus Cat house)’, cur. Kristin Calabrese, Joshua Aster, and Torie Zalben, Inglewood CA
Joslyn Art Museum, ‘30 Americans’, Omaha NE (Travelling Exhibition)
Quotidian, ‘Serpentine Fire’, Los Angeles CA
The Museum of the African Diaspora, ‘Black Refractions: Highlights from The Studio Museum in Harlem’, San Francisco CA (Travelling Exhibition)
Stony Island Arts Bank, ‘In The Absence of Light: Gesture, Humor and Resistance in The Black Aesthetic’, org. Theaster Gates, Chicago IL
Rubell Museum, ‘Presenting Unparalleled Journey through Contemporary Art of Past 50 Years’, Miami FL
Tel Aviv Museum, ‘If on a Winter’s Night a Traveler’, cur. Ruth Direktor, Tel Aviv, Israel
Tucson Museum of Art, ‘30 Americans’, Tucson, AZ (Travelling Exhibition)
Blum & Poe, ‘FOUR ROOMS’, New York NY
Pinault Collection, ‘Stand Up!’, Couvent des Jacobins and Musée des Beaux-Arts, Rennes, France
Juliet Art Museum, ‘30 Americans’, Charleston WV (Travelling Exhibition)
Taubman Museum of Art, ‘Reclamation! Pan-African Works from the Beth Rudin DeWoody Collection’, Roanoke VA
McNay Art Museum, ‘30 Americans’, San Antonio TX (Travelling Exhibition)
Museum of Sonoma County, ‘Unpacked: Contemporary Works from Private Collections of Northern California’, Santa Rosa CA
Torrance Art Museum, ‘Why Art Matters!’, Torrance CA
Samson Projects, ‘Black + Brown People | White Problems’, Boston MA
Rental Gallery, ‘Oliver Twist, Chapter 2’, East Hampton NY
The Brant Foundation Art Study Center, ‘Animal Farm’, cur. Sadie Laska, Greenwich CT
Whitney Museum of American Art, ‘2017 Whitney Biennial’, cur. Christopher Y. Lew and Mia Locks, New York NY
The Journal Gallery, ‘Drawing Island’, Brooklyn NY
ICA Institute of Contemporary Art, ‘ICA Collection. New Acquisitions’, Boston MA
SADE, ‘Revenge of the Crystal’, cur. by Ariana Papademetropoulos, Los Angeles CA
Bonnefantenmuseum, ‘Kahlil Joseph. NEW SUNS’, Maastricht, Netherlands
Petzel Gallery, ‘We need to talk…’, New York NY
Edward Cella Art & Architecture, ‘greater works than these shall he do…’, Los Angeles CA
James Cohan Gallery, ‘Intimisms’, New York NY
Camden Arts Centre, ‘Making & Unmaking’, cur. Duro Olowu, London, UK
Mann-Simons Site, ‘Route to (re)Settlement’, cur. Kimberly Light and Cecelia Stucker, Columbia SC
Whitney Museum of American Art, ‘Human Interest. Portraits from the Whitney’s Collection’, New York NY
Riverview School Cape Cod, ‘Nothing Compares to You. Works from the Collection of Martin & Rebecca Eisenberg’, East Sandwich MA
The Underground Museum, ‘Non-Fiction’, cur. Noah Davis, Los Angeles CA
Cincinnati Art Museum, ‘30 Americans’, Cincinnati OH (Travelling Exhibition)
Hammer Museum at Art + Practice, ‘A Shape That Stands Up’, org. Jamillah James, Los Angeles CA
MAC Lyon Musée d’art contemporain de Lyon, ‘Los Angeles. A Fiction’, cur. Gunnar B. Kvaran, Thierry Raspail, and Nicolas Garait-Leavenworth, Lyon, France
SMAK Stedelijk Museum voor Actuele Kunst, ‘These Strangers... Painting and People’, Ghent, Belgium
Detroit Institute of Arts, ‘30 Americans’, Detroit MI (Travelling Exhibition)
Arkansas Arts Center, ‘30 Americans’, Little Rock AK (Travelling Exhibition)
FUG, Bruce High Quality Foundation University Gallery, ‘Noah Davis and Selections from the Underground Museum’, New York NY
Roberts & Tilton, ‘And There Is an End’, Los Angeles CA
Gavin Brown’s enterprise, ‘Call and Response’, New York NY
Charlie James Gallery, ‘They’re There’, cur. Dane Johnson, Los Angeles CA
Shane Campbell Gallery, ‘New Image Painting’, Chicago IL
Contemporary Arts Center, ‘30 Americans’, New Orleans LA (Travelling Exhibition)
Marlborough Chelsea, ‘TICKET TO REALITY’, New York NY
ltd los angeles, ‘Inside This Human Clay’, Los Angeles CA
The Green Gallery, ‘B*E*E*R Show’, cur. Drew Heitzler, Milwaukee WI
Frist Center for the Visual Arts, ‘30 Americans’, Nashville TN (Travelling Exhibition)
Carnegie Museum of Art, ‘2013 Carnegie International’, cur. Daniel Baumann, Dan Byers, and Tina Kukielski, Pittsburgh PA
MOCA Museum of Contemporary Art, ‘Room to Live. Recent Acquisitions and Works from the Collection’, org. Bennett Simpson, Los Angeles CA
The Studio Museum in Harlem, ‘Body Language’, org. Abbe Schriber, New York NY
Whitney Museum of American Art, ‘Blues for Smoke’, cur. Bennett Simpson, New York NY
Milwaukee Museum of Art, ‘30 Americans’, Milwaukee WI (Travelling Exhibition)
Hammer Museum, ‘Made in L.A. 2012’, org. Anne Ellegood, Lauri Firstenberg, Malik Gaines, Cesar Garcia, and Ali Subotnick, Los Angeles CA
Chrysler Museum of Art, ‘30 Americans’, Norfolk VA (Travelling Exhibition)
Pepin Moore, ‘From Where You Just Arrived’, org. Ryan Schneider and Jonas Wood, Los Angeles CA
Corcoran Gallery of Art, ‘30 Americans’, Washington D.C. (Travelling Exhibition)
483 Broadway, 2nd Floor, ‘Greater LA’, cur. Eleanor Cayre, Benjamin Godsill, and Joel Mesler, New York NY
North Carolina Museum of Art, ‘30 Americans’, Raleigh NC (Travelling Exhibition)
LACMA Los Angeles County Museum of Art, ‘Human Nature. Contemporary Art from the Collection’, Los Angeles CA
Hessel Museum of Art, Bard College, ‘At Home / Not at Home. Works from the Collection of Martin and Rebecca Eisenberg’, cur. Matthew Higgs, Annandale-on-Hudson NY
Rental Gallery, ‘Henry Taylor & Phil Wagner’, New York NY
Peres Projects, ‘We are revolutionaries’, Berlin, Germany
Sister, ‘A Dead Serious Group Show’, Los Angeles CA
Jack Hanley Gallery, ‘Paper Bombs’, cur. Bart Exposito, Los Angeles CA
Museum of Contemporary Art North Miami, ‘Metro Pictures part two’, Miami FL
Ben Kaufmann Gallery, ‘Back From the Other Side of the World’, Berlin, Germany
Peres Projects, ‘LAXed: Paintings from the Other Side’, Berlin, Germany
Milliken Gallery, ‘LA Trash and Treasure’, cur. Liv Stoltz, Stockholm, Sweden
Daniel Reich Gallery, ‘California Earthquakes’, New York NY
Sister, ‘Losing My Head’, Los Angeles CA
California Institute of the Arts, ‘Water and Power’, cur. Karen Sanders, Ventura CA
Grants and Awards
BOMB, Gala Honoree, New York NY
Robert De Niro, Sr. Prize
Residency, Skowhegen School of Painting and Sculpture, Madison ME
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Choi, Connie H., ‘Black Refractions: Highlights from the Studio Museum in Harlem’, New York: Rizzoli Electa; New York: American Federation of Arts, 2018, pp. 186-87
Deitch, Jeffrey, ‘Unrealism. New Figurative Painting’, New York, NY: Rizzoli Electa, 2019, pp. 91
Melick, Tom, Morrill, Rebecca (eds), ‘Vitamin P3. New Perspectives in Painting’, London: Phaidon, 2016, pp. 304-07
___, ‘These Strangers...Painting and People’, Amsterdam: Roma Publications; Ghent: S.M.A.K., 2016, pp. 30-32
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Simpson, Bennett, ‘Blues for Smoke’, Los Angeles: Museum of Contemporary Art; Munich: DelMonico Books/Prestel, 2012, pp. 22, 108-09, 161
Roselione-Valadez, Juan (ed.), ‘American Exuberance’, Miami: Rubell Family Collection, 2011, pp. 196-97
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Carrier, David, ‘In Henry Taylor’s Paintings, the Past Bleeds Into the Present’ [Review], on: hyperallergic.com, 31 July 2021, ill.
Brumer, Andy, ‘Henry Taylor’s Paintings of Black Masters Caddies Chronicle a Complicated History’, on: si.com, 26 July 2021, ill.
Schuster, Angela M.H., ‘Three Must-See New York Art Shows of Summer 2021’, on: avenuemagazine.com, 21 July 2021, ill.
Forgo, Gabriela, ‘“In Focus: LA Artists,” An Exhibition at Hauser & Wirth, Los Angeles’, on: purple.fr, 21 July 2021, ill.
Jansen, Charlotte, ‘Meeting Henry Taylor– Afro-American legend of contemporary art’ [Interview], on: numero.com, 12 July 2021, ill.
Sifton, Sam, ‘These Are the Eggs You Are Looking For’, on: nytimes.com, 12 July 2021, ill.
Ghassemitari, Shawn, ‘Artist Henry Taylor Shines Light on the History of Black Caddies’, on: hypebeast.com, 8 July 2021, ill.
___, ‘Hauser & Wirth Southampton presents a focused selection of recent paintings and sculptures by Henry Taylor’, on: artdaily.com, 3 July 2021, ill.
___, ‘Henry Taylor. Recolección histórica del racismo’, on: stylefeelfree.com, 1 July 2021, ill.
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Feinblatt, Rachel, ‘Get With the Program’, in: Hamptons Magazine, Southampton, July 2021, p. 50, ill.
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___, ‘The Hamptons Guide’, on: goop.com, 30 June 2021, ill.
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___, ‘Henry Taylor’ [Interview], in: Numéro Art, Paris, June-September 2021, pp. 58-79, ill.
___, ‘Local Exhibitions and Shows’, in: Galerie, New York, no. 22, Summer 2021, p. 111, ill.
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Olley, Cat, 'Culture Calling', in: Elle Decoration, Paris, April 2021, pp. 155-160, ill.
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Gavin, Francesca, 'Smaller is Beautiful', in: The Financial Times, London, 6 February 2021, pp. 42-43, ill.
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themodernhouse.com, 28 January 2021
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___, ‘An Artist’s Portrait of His Brother’, on: nytimes.com, 30 October 2020, ill.
Duponchelle, Valérie, ‘L’Événement la Peinture de Henry Taylor à Portée de Main’, in: Le Figaro, Paris, No. 23689, 15 October 2020, pp. 28-29, ill.
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___, ‘The Next Big Things’, in: ARTnews, New York, Summer 2020, p. 61
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___, ‘11 New Books We Recommend This Week’, in: The New York Times, New York, 6 December 2018
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Adams, Genetta M., ‘Forget That White Lady’s Emmett Till Painting; These Black Artists Are Truly Representing at the Whitney Biennial’ in: The Root, Washington DC, 6 April 2017
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Valentine, Victoria L., ‘From London to New York, Whitney Biennial Artist Henry Taylor is Having a Major Art World Moment’, in: Culture Type, New York, 18 March 2017
Livingstone, Josephine, ‘The Cutting-Edge Sincerity of the Whitney Biennial’, in: New Republic, New York, 16 March 2017
Smith, Roberta, ‘Why the Whitney’s Humanist, Pro-Diversity Biennial Is a Revelation’, in: The New York Times, New York, 16 March 2017
Viveros-Fauné, Christian, ‘Painting Pumps Its Fist at the Whitney Biennial’, on: news.artnet.com, 16 March 2017
Saltz, Jerry, ‘The 2017 Whitney Biennial Is the Most Politically Charged in Decades’, in: Vulture, New York, 14 March 2017
Valentine, Victoria L., ‘Henry Taylor’s March Cover of Art in America Magazine Is Inspired by 1968 Photo of Cicely Tyson and Miles Davis’, in: Culture Type, New York, 14 March 2017
Solway, Diane, ‘An Early Look at the 2017 Whitney Biennial, Arriving in Time to Tackle America’s Turmoil’, in: W Magazine, New York, 13 March 2017
Slenske, Michael, ‘The Artist Who Was a Legend Before He Became a Legend’, in: Wall Street
Journal Magazine, New York, 2 March 2017
Valentine, Victoria L., ‘Artist Henry Taylor is Lending His West Coast Perspective to New York’s High Line’, in: Culture Type, New York, 1 March 2017
Taylor, Henry, ‘Cicely and Miles Visit the Obamas’, in: Art in America, New York, March 2017
Stone, Bryony, ‘Henry Taylor’, in: Printed Pages, London, no. 13, Spring/Summer 2017, pp. 174-175
Miranda, Carolina A., ‘Painter Henry Taylor’s Floating Self-portrait to Materialize as a Mural at the High Line Park in Manhattan’, in: Los Angeles Times, Los Angeles, 27 February 2017
Viveros-Fauné, Christian, ‘These 11 Artists Will Transform the Art World in 2017’, on: news.artnet.com, 2 January 2017
___, ‘Henry Taylor’, in: Parterre de Rois, Milan, no. 5, Black issue 2017, pp. 136-141
Holte, Michael Ned, ‘Best of 2016’, in: Artforum, New York, vol. 55, no. 4, December 2016, pp. 226
Valentine, Victoria L., ‘Artist List for 2017 Whitney Museum Biennial Includes Henry Taylor, Lyle Ashton Harris, Pope.L, and Deanna Lawson’, in: Culture Type, New York, 18 November 2016
Pogrebin, Robin, ‘Here Comes the Whitney Biennial, Reflecting the Tumult of the Times’, in: The New York Times, New York Times, 17 November 2016
Gibbs, Gregg, ‘Henry Taylor. Where the Streets Have a Name’, in: Juxtapoz, San Francisco, no. 190, November 2016, pp. 96-103
Quinn, Patrick, ‘Artist Henry Taylor Creates a Unique Installation’, on: artandcakela.com, 31 October 2016
Harden, Essence, ‘When the Grace is In the Ground and the Earth is Life. Henry Taylor at Blum & Poe’, in: SFAQ, San Francisco, 25 October 2016
Wagley, Catherine, ‘5 Art Shows to See in L.A. This Week’, in: LA Weekly, Los Angeles, 12 October 2016
Knight, Christopher, ‘Review. Henry Taylor at Blum & Poe Gallery’, in: Los Angeles Times, Los Angeles, 10 October 2016
Reyburn, Scott, ‘At Frieze Art Week, All Eyes on the Pound’, in: The New York Times, New York, 7 October 2016
Weitz, Julie, ‘Backstage in Kahlil Joseph’s ‘Wizard of the Upper Amazon’, on: artslant.com, 5 October 2016
Stone, Bryony, ‘Artist Henry Taylor Takes Over LA Gallery Blum & Poe’, on: Itsnicethat.com, 26 September 2016
Yablonsky, Linda, ‘After Earth’, on: artforum.com, 17 September 2016
Baumann, Sacha, ‘A Landscape of Community Portraiture’, on: sachabaumann.com, 14 September 2016
Black, Ezrha Jean, ‘Henry Taylor’, on: artillerymag.com, 14 September 2016
Miranda, Carolina A., ‘The Anti-Mega Gallery. The Impromptu Shows at Henry Taylor’s Living Room Exhibition Space’, in: Los Angeles Times, Los Angeles, 11 September 2016
Berardini, Andrew, ‘Critics’ Picks. Henry Taylor’, on: artforum.com, September 2016
Valentine, Victoria L., ‘At Christie’s Auction, Henry Taylor Painting of Historic Track Star Sets Record for Artist’, on: culturetype.com, 12 May 2016
Goldstein, Andrew M., ‘10 of the Best Artworks at Frieze New York 2016’, on: artspace.com, 5 May 2016
Rosenberg, Karen, ‘Henry Taylor on His Profoundly Empathetic Early Portraits of Psychiatric Patients’, on: artspace.com, 2 April 2016
Shapton, Leanne, ‘Thirteen Contemporary Artists Portray Their Own Children’, in: T: The New York Times Style Magazine, New York, 18 March 2016
McMahon, Catherine, ‘L.A. Habitat. Henry Taylor’, on: artnews.com, 25 March 2016
Wagley, Catherine C., ‘New Kid in Town. Hauser Wirth & Schimmel Opens in Los Angeles - And the Artist Henry Taylor Inaugurates a Space of His Own’, on: artnews.com, 16 March 2016
Valentine, Victoria L., ‘On the Horizon in African American Art: Artists to Watch and Events to Look Forward to in 2016’, on: culturetype.com, 11 January 2016
___, ‘Deana Lawson and Henry Taylor’, in: BOMB, New York, no. 133, Fall 2015, pp. 122-131
Samet, Jennifer, ‘Beer with a Painter, LA Edition. Henry Taylor’, on: hyperallergic.com, 27 June 2015
Bennett, Steve, ‘Artpace Installation Takes Aim at Texas’, on: expressnews.com, 27 March 2015
Berzon, Stephanie, ‘Henry Taylor Filters Life Through Portraiture’, on: artslant.com, 24 March 2015
Higgie, Jennifer, ‘Henry Taylor’, in: Frieze, no. 160, January-February 2014, pp. 96-97
Banks, Gabrielle, ‘Countdown to Carnegie International. Painting to Provoke’, on: post-gazette.com, 18 September 2013
Akel, Joseph, ‘Henry Taylor. Blum & Poe’, in: Artforum, New York, vol. 51, no. 9, May 2013, 335-36
Hoptman, Laura, ‘Henry Taylor, Pawel Althamer, and Cathy Wilkes Walk into a Bar....’, on: moma.org, 26 April 2013
Bernard, Lili, ‘Baila, Henry Taylor!’, on: huffingtonpost.com, 22 April 2013
Goldman, Edward, ‘The MOCA Trustees Woke Up and Smelled the Coffee, at Last’, on: kcrw.com, 26 March 2013
Diehl, Travis, ‘Henry Taylor’, on: artforum.com, 20 March 2013
Tuck, Geoff, ‘Henry Taylor at Blum and Poe’, on: notesonlooking.com, 19 March 2013
Myers, Holly, ‘Henry Taylor Paintings a Potent Presence at Blum & Poe’, in: Los Angeles Times, Los Angeles, 8 March 2013
___, ‘Smart Art for $25,00 and under’, in: Art + Auction, New York, May 2012, pp. 120-121
Nathan, Emily, ‘Henry Taylor. Untitled’, on: artnet.com, 23 March 2012
Walleston, Aimee, ‘The Hunter-Gatherer. Henry Taylor as Sculptor’, on: artnews.com, 19 March 2012
Finkel, Jori, ‘Hammer Announces $100,000 Biennial Prize’, in: Los Angeles Times, Los Angeles, 14 March 2012
Johnson, Ken, ‘A Visual Equivalent of the Blues, in Warm Shades’, in: The New York Times, New York, 2 February 2012
Miller, Michael H., ‘Henry Taylor Paints a Picture’, in: New York Observer, New York, 27 January 2012
Dalton, Trini, ‘Henry Taylor’, on: artforum.com, 24 April 2011
Misheff, Johnny, ‘Visiting Artists. Henry Taylor’, in: The New York Times Magazine, New York, 7 March 2011
Douglas, Sarah, ‘Blazing Talent Henry Taylor Sets the L.A. Art Scene on Fire’, in: Modern Painters, New York, vol. 23, no. 2, March 2011, pp. 40-42
Knight, Christopher, ‘Review. Henry Taylor at Mesler & Hug’, in: Los Angeles Times, Los Angeles, 14 May 2009
Stillman, Nick, ‘Henry Taylor – Rental’, in: Artforum, New York, vol. 47, no. 9, May 2009, p. 240
Lehrer-Graiwer, Sarah, ‘Henry Taylor, Mesler & Hug’, on: Artforum.com, 28 April 2009
The New Yorker, ‘Goings On About Town. Henry Taylor’, on: newyorker.com, January 2010
Breidenbach, Tom, ‘Michele O’ Marah and Henry Taylor – Sister at Rental’, in: Artforum, vol. 46, no. 5, January 2008, 284-285
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To celebrate Ida Applebroog’s solo exhibition ‘Right Up To Now 1969 – 2021’, we are thrilled to present a screening of ‘Call Her Applebroog’ (2016) directed by filmmaker, and the artist’s daughter, Beth B. This deeply personal portrait of acclaimed New York–based artist Ida Applebroog was…
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Hauser & Wirth and Chillida Leku are taking part in The Big Draw Festival, join our activities from Somerset, Menorca and Chillida Leku, San Sebastián. The Big Draw is the world’s largest drawing festival with thousands of drawing activities connecting people of all ages with museums,…
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