Joel Sternfeld is an artist-photographer whose work is concerned with the utopic and dystopic possibilities of the American experience, as well, as those of the human experience. Ever since the publication of his landmark study, American Prospects (1987), his work has maintained conceptual and political aspects, while also being steeped in history, art history, landscape theory, and seasonality. On This Site (1996) examines violence in America while simultaneously raising the question of what is knowable from a single photograph. All his subsequent work has sought to expand the narrative possibilities of still photography primarily through an authored text. His work is as ironic as it is dignified, as poetic as it is documentary. It represents a melding of time and place that serves to elucidate, honor, and warn. His books converse with each other and may be read as a collective whole. Sternfeld is the recipient of two Guggenheim Fellowships and spent a year in Italy on a Rome Prize. He teaches at Sarah Lawrence College, where he holds the Noble Foundation Chair in Art and Cultural History.


JOEL STERNFELD
Born 1944, New York, NY
Lives and works in New York, NY

EDUCATION
1965, BA, Dartmouth College

AWARDS

2013, Montgomery Fellowship 

2004, Citigroup Photography Prize, in association with Photographers’ Gallery, London, England

1990–1991, Prix de Rome

1987–1988, Shifting Foundation Fellowship

1985, Grand Prize, Higashikawa International Photo Festival

1983, American Council for the Arts Emerging Artist Award

1982, John Simon Guggenheim Memorial Foundation Award

1980, National Endowment for the Arts Photographers Fellowship

1980, New York State Council for the Arts Creative Artist Public Service Fellowship

1978, John Simon Guggenheim Memorial Foundation Fellowship


SELECTED EXHIBITIONS

2017-2018

Joel Sternfeld: Stranger Passing / To Joseph Palmer, Buchmann Galerie, Berlin, Germany

2017

Joel Sternfeld: Colour Photographs 1977-1988, Beetles + Huxley, London, England

2013–2014

2013 Carnegie International, Carnegie Museum of Art, Pittsburgh, PA*

2012

Joel Sternfeld: Campagna Romana, Buchmann Galerie, Berlin, Germany

Joel Sternfeld: First Pictures, Luhring Augustine, New York, NY

2011-2012

Joel Sternfeld: Color Photographs since 1970, Museum Folkwang, Essen, Germany

Travelled to The Albertina Museum, Vienna, Austria

Foam, Amsterdam, The Netherlands

C/O Berlin, Berlin, Germany

2009

Joel Sternfeld: On This Site, Buchmann Galerie, Berlin, Germany

2008

Oxbow Archive, Luhring Augustine, New York, NY

The Geography of No Place: American Utopias, Buchmann Galerie, Berlin, Germany

2007

Joel Sternfeld: American Prospects “The Seasons,” Russell Bowman Art Advisory, Chicago, IL

2006

Joel Sternfeld: PhotoEspaña 2006, Círculo de Bellas Artes, Madrid, Spain

Sweet Earth: Experimental Utopias in America, Haines Gallery, San Francisco, CA

2005

Sweet Earth: Experimental Utopias in America, Luhring Augustine, New York, NY

2004

American Prospects and Before, Luhring Augustine, New York, NY

2002-2003

Joel Sternfeld, The Photographers’ Gallery, London, United Kingdom

2002

Treading on Kings: Protesting the G8 in Genoa, WhiteBox Art Center, New York, NY*

2001

American Prospects and Stranger Passing, Haines Gallery, San Francisco, CA

Stranger Passing, San Francisco Museum of Modern Art, San Francisco, CA

Walking the High Line, Pace Wildenstein Gallery, New York, NY

1998

Hart Island, Stadthaus Ulm, Ulm, Germany

Cleveland Museum of Art, Cleveland, OH

1997-1998

American Prospects, Maison Européenne de La Photographie, Paris, France

1997

New Portraits , Pace Wildenstein MacGill, New York, NY

On This Site, Pace Wildenstein MacGill, Los Angeles, CA

On This Site, The Art Institute of Chicago, Chicago, IL

1992

Campagna Romana: The Roman Countryside, Museum of Fine Arts, Boston, Massachusetts

1991

Campagna Romana: The Roman Countryside, Pace/MacGill Gallery, New York, NY

1989

Contemporary Photographs, Pace/MacGill Gallery, New York, NY

1987-1989

American Prospects: The Photographs of Joel Sternfeld, Museum of Fine Arts Houston, Houston, TX; Baltimore Museum of Art, Baltimore, MD; Detroit Institute of Arts, Detroit, MI; Museum of Contemporary Art, La Jolla, CA; The National Gallery of Canada, Ottawa, Canada

1985

Joel Sternfeld, Afterimage Gallery, Dallas, TX

Fotografien 1978-1984, CCD. Galerie—West Germany

New Color Photography, The Halsted Gallery, Birmingham, MI

Joel Sternfeld, Dartmouth College, Hanover, NH

Joel Sternfeld, Higashikawa International Photo Festival, Higashikawa, Japan

Joel Sternfeld, Michael Carey Gallery, Austin, TX

1984

American Prospects, Daniel Wolf, Inc., New York, NY

American Prospects, Friends of Photography, Carmel, CAVisual Studies Workshop, Rochester, NY

Three Americans (Jim Goldberg, Robert Adams, Joel Sternfeld), Museum of Modern Art, New York, NY

1982

Joel Sternfeld, Blue Sky, Oregon Center for the Photographic Arts, Portland, OR

Joel Sternfeld, Brent Sikkema Gallery, Boston, MA

Joel Sternfeld, University of California Riverside/California Museum of Photography, Riverside, CA

Joel Sternfeld, Looking Glass Gallery, Royal Oak, MI

Joel Sternfeld, Grapestake Gallery, San Francisco, CA

1981

The New Color, Everson Museum of Art, Syracuse, NY

Larry Fink and Joel Sternfeld: Photographs, San Francisco Museum of Modern Art, San Francisco, CA

1980

Daniel Wolf, Inc., New York, NY

1976

Recent Color Photographs by Joel Sternfeld and Recent Work by Lois Johnson, Peale House Galleries, Pennsylvania Academy of the Fine Arts, Philadelphia, PA


SELECTED GROUP EXHIBITIONS

2018

From the K’MoPA Collection: Basically, Forever. 2018, Tokyo Photographic Art Museum, Tokyo, Japan; Taiwan National Museum of Fine Art, Taichung, Taiwan

2017

The Arcades: Contemporary Art and Walter Benjamin, Jewish Museum, New York, NY*

2016-2017

Collected, Pier 24 Photography, San Francisco, CA*

Watershed: Contemporary Landscape Photography, Jepson Center, Telfair Museums, Savannah, GA*

2016

The Edge of the Earth: Climate Change in Photography and Video, Ryerson Image Centre, Ryerson University, Toronto, Canada*

Land/Leute aus der Fotosammlung der Albertina, The Albertina Museum, Vienna, Austria

Landscapes after Ruskin: Redefining the Sublime, Curated by Joel Sternfeld, Hall Art Foundation, Reading, VT

Magical Surfaces: The Uncanny in Contemporary Photography, Parasol Unit, London, England*

Seht, da ist der Mensch / Behold the Man, Baumwollspinnerei Leipzig, Leipzig, Germany*

2015-2018

Total Records: Vinyl & Photography, Rencontres d’Arles, Arles, France; C|O Berlin, Berlin, Germany;, Fundación Foto Colectania, Barcelona, Spain

2015-2017

The Open Road, Aperture Foundation, New York, NY; Detroit Institute of Arts, Detroit, MI; Crystal Bridges Museum of American Art, Bentonville, AR; Amarillo Museum of Art, Amarillo, TX; Museum of Fine Arts, St. Petersburg, St. Petersburg, FL; Blanton Museum of Art, University of Texas at Austin, Austin, TX*

2015

No Place Like Home: Selections From the Sue and John Wieland Collection of Contemporary Art, Brigham Young University Museum of Art, Provo, UT

River Crossings: Contemporary Art Comes Home, Thomas Cole National Historic Site, Catskill, NY*

2014–2015

American Scene Photography: Martin Z. Margulies Collection, NSU Art Museum Fort Lauderdale, Fort Lauderdale, FL*

Blue Sky: The Oregon Center for the Photographic Arts at 40, Portland Art Museum, Portland, OR*

Luxus der Einfachheit: Lebensformen Jenseits der Norm, Münchner Stadtmuseum, Munich, Germany

FO.KU.S Foto Kunst Stadtforum, Innsbruck, Austria*

2014

Frontier Visions: The American West in Myth and Image, Bowdoin College Museum of Art, Brunswick, ME

in/humano, Museo de Arte Contemporáneo de Monterrey, Centro Monterrey, Mexico*

Only the Good Ones: The Snapshot Aesthetic Revisited , Galerie Rudolfinum, Prague, Czech Republic*

Paper Roses: Garden-Inspired Works on Paper, Toledo Museum of Art, Toledo, OH*

Perfectly Strange, Worcester Art Museum, Worcester, MA

Road Trip: Photography of the American West from the Los Angeles County Museum of Art, Musée des Beaux-Arts de Bordeaux, Bordeaux, France*

2013

Color! American Photography Transformed, Amon Carter Museum of American Art, Fort Worth, TX*

Color Rush: 75 years of Color Photography in America, Milwaukee Art Museum, Milwaukee, WI

Dark Blue: The Water as Protagonist, Patrick and Beatrice Haggerty Museum of Art, Marquette University, Milwaukee, WI

Everyday America: Photographs from the Berman Collection, Steven Kasher Gallery, New York, NY

FotoA–Z, NRW-Forum Kultur und Wirtschaft, Düsseldorf, Germany*

Jew York, Zach Feuer Gallery, New York, NY; UNTITLED, New York, NY

Zaha Hadid—Joel Sternfeld: Landscape? Buchmann Galerie, Agra, Switzerland

2012

Freedom Of/For/To, Patrick and Beatrice Haggerty Museum of Art, Marquette University, Milwaukee, WI

Landscapes: Scene / Re-seen, Westport Arts Center, Westport, CT

Made in Arizona, Photographs from the Collection, Center for Creative Photography, University of Arizona, Tucson, AZ

The Prix Picete Power, Saatchi Gallery, London, England

2011-2012

The Dwelling Life of Man, Fundació Foto Colectania, Barcelona, Spain; Kunsthal KAdE, Amersfoort, The Netherlands*

2011

ANGRY: Young and Radical, Nederlands Fotomuseum, Rotterdam, The Netherlands

Another Story, Moderna Museet, Stockholm, Sweden

The Collection on View, Winnipeg Art Gallery, Winnipeg, Canada

Iconic Arizona, Doris and John Norton Gallery for the Center for Creative Photography, Phoenix Art Museum, Phoenix, AZ

Seismic Shift: Lewis Baltz, Joe Deal and California Landscape Photography 1945–1980, UCR/California Museum of Photography, Riverside, CA*

2010

Edge of Town, Equinox Gallery, Vancouver, Canada

Everyday Ideologies, Kunstmuseum Kloster Unser Lieben Frauen, Magdeburg, Germany*

Great Photographs of the 20th Century: Staged and Startled, Hasted Kraeutler, New York, NY

Labour, Fotomuseum Winterthur, Winterthur, Switzerland*

On the Road: A Legacy of Walker Evans, Robert Lehman Arts Center, Brooks School, North Andover, MA*

Starburst: Color Photography in America 1970–1980, Cincinnati Art Museum, Cincinnati, OH*

Twenty Five, Luhring Augustine, New York, NY

Wonderers, Richard L. Nelson Gallery and Fine Arts Collection, UC Davis,Davis, CA*

2009

Beyond the Picturesque, S.M.A.K. Stedelijk Museum voor Actuele Kunst, Ghent, Belgium*

Focus on Photography: Works from 1950 to Today, Hood Museum of Art, Dartmouth College, Hanover, New Hampshire

Images Recalled, 3rd Fotofestival Mannheim Ludwigshafen Heidelberg, Mannheim, Germany*

Into the Sunset, Museum of Modern Art, New York, NY*

Monuments with a Horizon Line II, Buchmann Galerie, Berlin, Germany

No Such Place—Territories of the Invisible, Castillo de Santa Bárbara, Alicante, Spain*

Reality Revisited: Photography from the Moderna Museet Collection, Moderna Museet, Stockholm, Sweden*

2008-2009

Street and Studio, Tate Modern, London, England; Museum Folkwang, Essen, Germany*

2008

Artist’s Choice: Vik Muniz, Rebus, Museum of Modern Art, New York, NY

New York Fast Forward: Neil Denari Builds on the High Line, Museum of the City of New York, New York, NY

Of People and Places, University Gallery, University of Massachusetts, Amherst, MA*

Reality Check: Truth and Illusion in Contemporary Photography, Metropolitan Museum of Art, New York, NY

When Color Was New: Vintage Photographs from around the 1970s, Julie Saul Gallery, New York, NY*

2007

Aperture Gallery, New York, NY

Easy Rider: Road Trips through America, Yancey Richardson Gallery, New York, NY

Far from Home: Photography, Travel and Inspiration, Art Institute of Chicago, Chicago, IL

Loaded Landscapes, Museum of Contemporary Photography, Chicago, IL

Utopian Mirage: Social Metaphors in Contemporary Photography and Film, Frances Lehman Loeb Art Center, Vassar College, Poughkeepsie, NY*

Weather Report: Art and Climate Change, Boulder Museum of Contemporary Art, Boulder, CO*

When Color Was New, Art Institute of Chicago, Chicago

2005

Contemporary Photography and the Definition of Place (lecture with Mitch Epstein, Vicki Goldberg, and Sally Mann ), Architecture League of New York, New York, NY

Real Pictures: Photographs from the Collection of Claudia Beck and Andrew Gruft, Vancouver Art Gallery, Vancouver, Canada*

2004–2005

American Pictures, Whitney Museum of American Art, New York, NY

2004

The Art of Powdermaker Hall , Queens College, CUNY, Queens, NY Big Photos, Russell Bowman Art Advisory, Chicago, IL

Citigroup Photography Prize 2004, Photographers’ Gallery, London, England; Museum Kunstpalast, Düsseldorf, Germany*

Everything’s Gone Green Photography and the Garden, National Museum of Photography, Film and Television, Bradford, England*

In America, Sutton Lane, London, England

Inside Out: Portrait Photographs from the Permanent Collection, Whitney Museum of American Art, New York, NY

Pool Party, Yossi Milo Gallery, New York, NY

Seventies Color Photography, Kennedy Boesky Photographs, New York, NY

2003

Der fotografierte Mensch in Bildern der Fotografischen Sammlung im Museum Folkwang, Museum Folkwang, Essen, Germany*

Passengers, Lisboa Photo, Lisbon, Portugal*

Pictures From Within: American Photographs, 1958-2002, Whitney Museum of American Art, New York, NY

Strangers:The First ICP Triennial of Photography and Video, International Center of Photography, New York, NY *

2002

American Standard: (Para) Normality and Everyday Life, Barbara Gladstone Gallery, New York, NY

The Culture of Violence, University Gallery at the University of Massachusetts Amherst, Amherts, MA; Bowdoin College Museum of Art, Brunswick, ME; Samuel P Harn Museum of Art, University of Florida, Gainesville, FL*

Naked (sic) in the Landscape, Pace/MacGill Gallery, New York, NY

Visions from America: Photographs from the Whitney Museum of American Art, 1940-2001, Whitney Museum of American Art, New York, NY*

2001

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

2001-2002

Trade: Commodities, Communication, and Consciousness, Fotomuseum Winterthur, Winterthur, Switzerland; Nederlands Foto Instituut, Rotterdam, Netherlands*

1998

Alec Soth and Joel Sternfeld: Portraits, pARTS Gallery, Minneapolis, MN

1996-1997

Crossing the Frontier: Photographs of the Developing West, 1849 to the Present, San Francisco Museum of Modern Art, San Francisco, CA; Yale University Art Gallery, New Haven, CT; Phoenix Art Museum, Phoenix, AZ; Tokyo Metropolitan Museum of Photography, Tokyo, Japan*

1995

Murder, Bergamot Station Arts Center, Santa Monica, CA; Thread Waxing Space, New York, NY; Centre Gallery, Miami-Dade Community College/Wolfson Campus, Miami, FL*

1994

Vi Fotobienal, Concello de Vigo, Vigo, Spain*

1993

Über die großen Städte/ About the Big Cities, Neue Gesellschaft für Bildende Kunst, Berlin, Germany*

Photographs from the Real World, Lillehammer Art Museum, Lillehammer, Norway*

1992

More than One Photography, Museum of Modern Art, New York, NY

1991

Pleasures and Terrors of Domestic Comfort, Museum of Modern Art, New York, NY*

1990

The Indomitable Spirit, International Center of Photography, New York, NY*

Artificial Nature, Deste Foundation for Contemporary Art, Athens, Greece*

1989-1990

On the Art of Fixing a Shadow: 150 Years of Photography , National Gallery of Art, Washington, DC; Art Institute of Chicago, Chicago, IL; Los Angeles County Museum of Art, Los Angeles, CA*

1989

American Stories: Photographs by Leon Borensztein, Sage, Sohier, and Joel Sternfeld, Art Institute of Chicago, Chicago, IL

The Art of Photography, 1839–1989, Museum of Fine Arts Houston, Houston, TX; Royal Academy of Arts, London, England; Australian National Gallery, Canberra, Australia

1987

American Dreams, Reina Sofia Art Center, Madrid, Spain*

Twelve Photographers Look at Us, Philadelphia Museum of Art, Philadelphia, PA

1986

American Nature and Culture, Phillips Academy, Exeter, NH

50.Jahre moderne Farbfotografie, 1936-1986/ 50 Years: Modern Color Photography 1936-1986, Photokina, Cologne, Germany*

1985

American Images: Photography1945–1980, Barbican Art Gallery, London, England*

City Light, International Center for Photography, New York, NY

Cleveland Center for Contemporary Art, Cleveland, OH

Color Photographs, Bowdoin College Museum of Art, Brunswick, ME

Color Photography, State University of New York, Plattsburg, Pratt Institute, Plattsburg, NY Landscapes, Gallery 253, Atlanta, GA

New Color/ New Work: Eighteen Photographic Essays, Museum of Contemporary Photography, Columbia College, Chicago, IL

Swimmers, Pace/MacGill Gallery, New York, NY

Two’s Company, Light Gallery, New York, NY

1984

Couleur et la Photographie “Straight, ”Paris Art Center, Paris, France

1983

Color in the Street, UCR/California Museum of Photography, Riverside, CA*

Contemporary Photography, Albright-Knox Art Gallery, Buffalo, NY

Huit Photographes Americains, Art 45, Ins., Montreal, Canada

High Light: The Mountain in Photography, International Center of Photography, New York, NY

Mount St. Helens, Friends of Photography, Carmel, CA

New Work by Eight Photographers, Daniel Wolf, Inc, New York, NY

Photography and the Industrial Image, New York University, New York, NY

Photography in America: 1910-1983, The Tampa Museum, Tampa, FL

Subjective Vision, High Museum of Art, Atlanta, GA*

Time Out: Sports and Leisure in America Today, The Tampa Museum, Tampa, FL

1982

New England Perambulations, Addison Gallery of American Art, Phillips Academy, Andover, MA*

1981

Color Landscape Photographs, Creative Photography Gallery, Massachusetts Institute of Technology, Cambridge, MA

Color Photography: New Images, Mandeville Art Gallery, The University of California at San Diego, LaJolla, CA

1980

Color as Form, George Eastman House International Museum of Photography and Film, Rochester, NY

Creative Artists Public Service Photography Exhibition, New York, NY

1979

Fotografie Im Alltag Americas, Kunstgewerbemuseum der Stadt Zurich, Zurich, Switzerland

1978

Color, Creative Photography Laboratory, Massachusetts Institute of Technology, Cambridge, MA

New Color Visions, Photokina, Cologne, Germany

One of a Kind: Recent Polaroid Color Photography, Polaroid Corporation, Cambridge, MA; Museum of Fine Arts, Houston, TX*

1977

The Second Generation of Color Photographers, Festival d’Arles, Arles, France

1976

Photographs of the American Landscape, Print Club, Philadelphia, PA



SELECTED BIBLIOGRAPHY: BOOKS AND EXHIBITION CATALOGUES

2017

The Arcades: Contemporary Art and Walter Benjamin, exh. cat. New Haven: Yale University Press, 2017.

Baggage Claims. Orlando: Orlando Museum of Art, 2017.

Gardens of the High Line: Elevating the Nature of Modern Landscapes. Portland, OR: Timber Press, 2017.

PhotoRx: Pharmacy in Photography since 1850. Bologna: Damiani, 2017.

Seht, da ist der Mensch, exh. cat. Vienna: Verlag für modern Kunst, 2017.

Seizing the Light: A Social and Aesthetic History of Photography. New York: Routledge, 2017.

2016

Crowley, Jennifer. “A Portrait of America: Joel Sternfeld’s ‘Stranger Passing’ as Ethnographic Research.” In Hermeneutik des Gesichts: Das Bildnis im Blick aktueller Rorschung, 329-345. Berlin: Walter De Gruyter, 2016.

Dickel, Hans. Natur in der zeitgenössischen Kunst: Konstellationen jenseits von Landschaft und Materialästhetik, 119-122. Munich: Verlag Silke Schreiber, 2016.

The Edge of the Earth: Climate Change in Photography and Video, exh. cat, 126-29. London: Black Dog, 2016.

Homeward: Selections from the Wieland Collection. Atlanta: Wieland Collection, 2016.

Landscape as Longing: Queens, New York. Gottingen: Steidl, 2016.

Magical Surfaces: The Uncanny in Contemporary Photography, exh. cat., 74-87. London: Parasol Unit Foundation for Contemporary Art, 2016.

Picturing America’s National Parks. New York: Aperture Foundation, 2016.

Watershed: Contemporary Landscape Photography, exh. cat. Savannah: Telfair Museums, 2016.

2015

Albers, Kate Palmer. “After the Fact: Joel Sternfeld’s On This Site,” Uncertain Histories: Accumulation, Inaccessibility, and Doubt in Contemporary Photography, 107-29, Oakland: University of California Press, 2015.

Carroll, Henry. Read This If You Want to Take Great Photographs of People, 50-51. London: Laurence King, 2015.

The High Line: Foreseen, Unforeseen, 123-24, 139, 170. New York: Phaidon, 2015.

Méaux, Danièle. Géo-Photographies: Une approche renouvelée des territoires, 114-20. Trézélan, France: Filigranes Éditions, 2015.

Méaux, Danièle. “Joel Sternfeld, Walking the High Line: Du fret ferroviaire à la promenade urbaine,” Art, architecture, paysage: À l’époque post-industrielle, 189-197, Saint-Étienne, France: Publications de l’Université de Saint-Étienne, 2015.

Monterosso, Jean-Luc. Une Collection: Maison Européenne de la Photographie Paris, 212-13, 412. Arles: Actes Sud, 2015.

Museum Folkwang: Masterpieces of the Collection, 267. Munich: Sieveking Verlag, 2015.

Photography at MoMA: 1960-Now, 39, 238, 249. New York: Museum of Modern Art, 2015.

Rosenfeld, Jason. River Crossings: Contemporary Art Comes Home, exh. cat. New York: The Artists Book Foundation, 2015.

The Thames & Hudson Dictionary of Photography. London: Thames & Hudson, 2015.

2014

American Scene Photography: Martin Z. Margulies Collection, exh. cat., 23. Fort Lauderdale: NSU Art Museum Fort Lauderdale, 2014.

Blue Sky: The Oregon Center for the Photographic Arts at 40, exh. cat. Portland, OR: Portland Art Museum, 2014.

Brown, Andrew. Art and Ecology Now, 68–69. London: Thames and Hudson, 2014.

Campany, David. The Open Road: Photography and the American Road Trip, exh. cat., 217–37. New York: Aperture Foundation, 2014.

Durden, Mark. Photography Today, 166–67, 200–203.New York: Phaidon Press, 2014.

Ewing, Edward A. Landmark: The Fields of Landscape Photography, 54, 104. New York: Thames and Hudson, 2014.

Halle, David, and Elisabeth Tiso. New York’s New Edge: Contemporary Art, the High Line, and Urban Megaprojects on the Far West Side, 104. Chicago: University of Chicago Press, 2014.

in/humano, exh. cat., 126–29. Monterrey: Museo de Arte Contemporáneo de Monterrey, 2014. La Farge, Annik. On the High Line, 10, 65–67, 162, 214. New York: Thames and Hudson, 2014.

Lamouliatte-Schmitt, Héléna. “The Oxbow selon Thomas Cole et Joel Sternfeld, ou la mise en perspective du regard.” In Perception, Perspective, Perspicacité, ed. Françoise Buisson, Christell Lacassain-Lagoin, and Florence Marie, 395–416. Paris: L’Harmattan, 2014.

Luxus der Einfachheit: Lebensformen Jenseits der Norm, exh. cat., 59–62. Berlin: Kehrer Verlag Heidelberg Berlin, 2014.

Nanoru, Michal. Only the Good Ones: The Snapshot Aesthetic Revisited, exh. cat. Prague: Galerie Rudolfinum, 2014.

Paper Roses: Garden-Inspired Works on Paper, exh. cat. Toledo: Toledo Museum of Art, 2014. http://www.toledomuseum.org/exhibitions/online-catalogues/paper-roses-garden-inspired-works-on-paper/.

The Photography Book, 485. New York: Phaidon Press, 2014.

Road Trip: Photography of the American West, exh. cat., 64. Los Angeles: Los Angeles County Museum of Art; Bordeaux: Galerie des Beaux-Arts de Bordeaux, 2014.

2013

Brunet, François. L’Amerique Des Images, 321. Paris: Éditions Hazan, 2013.

Bussard, Katherine, and Lisa Hostetler, Color Rush: American Color Photography from Stieglitz to Sherman, 210–15. New York: Aperture Foundation, 2013.

The Essential Guide, 298. Chicago: Art Institute of Chicago, 2013.

Honnef, Kause. “Die Präsenz der Vergangenheit.” In FotoA–Z, exh. cat.. Düsseldorf: NRW-Forum Kultur und Wirtschaft, 2013.

Kukielski, Tina. “Joel Sternfeld.” In 2013 Carnegie International, exh. cat.,163–64. Pittsburgh: Carnegie Museum of Art, 2013.

Memou, Antigoni. “Joel Sternfeld’s Anti- photojournalistic Images of Genoa.” In Photography and Social Movements, 145–162. Manchester, England: Manchester University Press, 2013.

Pénichon, Sylvie. “From Potatoes to Pixels: A Short Technical History of Color Photography.” In Color!: American Photography Transformed, exh. cat., 150, 163, 165, 200-201. Austin: University of Texas Press, 2013.

2012

Barbor, Stephen and Michael Benson, eds. Power, 68-69, 124. Kempen: teNeues Publishing Group, 2012.

Garcia, Erin C. Photography and Play, Plate 43. Los Angeles: J. Paul Getty Museum, 2012.

Golden, Reuel. New York, “November 17.” Cologne: Taschen, 2012.

La Farge, Annik. On the High Line. 10, 17, 65, 66–67, 162, 208. New York: Thames and Hudson, 2012.

La Fotograpfia Della Collezione Trevisan, 220. Milan: SilvanaEditoriale, 2012.

“Saving the High Line.” In Design like You Give a Damn2: Building Change from the Ground Up, ed.

Architecture for Humanity, 181–82. New York: Abrams, 2012.

Williams, Val. When Photography Really Works, 160–61, 211. London: Barron’s, 2012.

The Dwelling Life of Man, exh, cat, 28. Amsfoort: Kunsthal KAdE, 2012.

2011

Barber, Stephen, and Michael Benson, eds. Growth, 90–91. Berlin: teNeues Publishing Group, 2011.

Barrett, Terry. Criticizing Photographs: An Introduction to Understanding Images, 193. New York: McGraw Hill, 2011

Conversations: Photography from the Bank of America Collection, 55. Dublin: Irish Museum of Modern Art, 2011.

Engberg, Siri, ed. From Here to There: Alec Soth’s America, 40, 79, 82, 111, 140, 141, 145. Minneapolis: Walker Art Center, 2011.

Kennedy, Marla Hamburg, ed. New York: A Photographer’s City, 284–89. New York: Rizzoli International Publications, 2011.

La morada del hombre: Colección Martin Z. Margulies, 71, 180–81. Barcelona: Fundación Barrié, 2011.

Shamis, Bob. New York in Color, 76. New York: Abrams, 2011.

Stone, Jim, and Barbara London, eds. A Short Course in Digital Photography, 2nd ed., 22. Upper Saddle River, NJ: Prentice Hall, 2011.

Westerbeck, Colin. Seismic Shift: Lewis Baltz, Joe Deal and California Landscape Photography, 1944– 1984, exh. cat., plate 24. Riverside: Regents of the University of California, Riverside California Museum of Photography, 2011.

2010

Borys, Stephen. Winnipeg Art Gallery: Guide to the Collections, 161. Winnipeg: Winnipeg Art Gallery, 2010.

Dyer, Geoff. Working The Room: Essays and Reviews: 1999–2010, 49–52, image 3.

Edinburgh: Canongate Books, 2010.

Everyday Ideologies, Zeitläufe. Lebenswege. exh. cat, 18-26. Magdeburg: Kunstmuseum Kloster Unser Lieben Frauen, 2010.

Golden, Reuel. New York: Portrait of a City, 479. Cologne: Taschen, 2010.

Labour, exh. cat., 21. Winterthur: Fotomuseum Winterthur, 2010.

Marien, Mary Warner. Photography: A Cultural History, 3rd ed., 478. Upper Saddle River, NJ: Prentice Hall, 2010.

Moore, Kevin. Starburst: Color Photography in America 1970–1980, exh. cat.,128–33, 238–43. Ostfildern: Hatje Cantz Verlag; Cincinnati: Cincinnati Art Museum, 2010.

On the Road: A Legacy of Walker Evans, exh. cat. North Andover, MA: Robert Lehman Arts Center, Brooks School, 2010.

Photography Collection Museum Folkwang, 249. Göttingen: Steidl Publishers, 2010.

Reality Revisited: Photography from the Moderna Museet Collection, plate 182. Steidl Publishers, 2010.

Tellgren, Anna, ed. Reality Revisited: Photography from the Moderna Museet Collection, exh. cat., image

182. Stockholm: Steidl Publishers, 2010.

Wonderers, exh. cat., 32-37. Davis, CA: The Richard L. Nelson Gallery, UC Davis, 2010.

2009

1985–2010: Luhring Augustine. New York: Luhring Augustine, 2010.

Bishop, Janet, Corey Keller, and Sarah Roberts, eds. San Francisco Museum of Modern Art: 75 Years of Looking Forward. San Francisco: San Francisco Museum of Modern Art, 2009.

Gefter, Philip. Photography after Frank, 11, 17, 45–46, 87, 195, 188, 206–207. New York: Aperture Foundation, 2009.

Goetzmann, William H., and William N. Goetzmann. The West of the Imagination, 509. Norman, OK: University of Oklahoma Press, 2009.

Images Recalled: 3rd Fotofestival Mannheim Ludwigshafen Heidelberg, exh. cat.,18, 165, 184–86. Heidelberg: Kehrer Verlag, 2009.

Into the Sunset: Photography’s Image of the American West, exh. cat., cover, 5, 13, 55, 61, 77, 80, 104. New York: Museum of Modern Art, 2009.

Jacobs, Steven and Frank Maes. Beyond the Picturesque, exh. cat., 156-161. Gent, Belgium: S.M.A.K., 2009.

No Such Place—Territories of the Invisible, exh. cat., 25, 27, 39, 56–57, 91, 100. Alicante, Spain: Castillo de Santa Bárbara, 2009.

Of People and Places, exh. cat., 71-79. Amherst, MA: University Gallery, University of Massachusetts Amherst, 2009.

2008

Barth, Nadine, ed. Vanishing Landscapes (Verschwindende Landschaften), 158–67. Cologne: DuMont Buchverlag, 2008.

Eskildsen, Ute. Street and Studio: An Urban History of Photography, exh. cat., 114. London: Tate Publishing, 2008.

Eskildsen, Ute, and Alberto Martín, eds. On the Human Being: International Photography 1950–2000 , 111.

Madrid: Turner, 2008.Sternfeld, Joel. “Robert Frank in Göttingen.” Robert Frank. Göttingen: Steidl, 2008.

When Color Was New: Vintage Photographs from around the 1970s. exh. cat. New York: Julie Saul Gallery, 2008.

2007

Angier, Roswell. Train Your Gaze (A Practical and Theoretical Introduction to Portrait Photography). Lausanne: Ava Publishing SA, 2007.

Badger, Gerry. The Genius of Photography: How Photography Has Changed Our Lives, 208. London: Quadrille, 2007.

Florido, Pepe. La Pradera de Plata, 37. Seville: Caja San Fernando, 2007.

How to Make a Book with Steidl, 3. Göttingen: Steidl, 2007.

MoMA: Highlights Since 1980, 63. New York: Museum of Modern Art, 2007.

Qu’est- ce Que La Photographie Aujourd’hui? 182-185. Boulogne: Beaux Arts, 2007.

Shore, Stephen. The Nature of Photographs, 21. London/New York: Phaidon, 2007.

Stephen Shore, 92, 114-121. London/New York: Phaidon, 2007.

Utopian Mirage: Social Metaphors in Contemporary Photography and Film, exh. cat., cover, 28, 48. Poughkeepsie: Frances Lehman Loeb Art Center, Vassar College, 2007.

Weather Report: Art and Climate Change, exh. cat., 108–9. Boulder: Boulder Museum of Contemporary Art, 2007.

XL Photography 3: Art Collection Deutsche Börse, 100-101. Osfildern: Hatje Cantz, 2007.

2006

10 Years of the Photography Prize, 40–43. London: The Photographers’ Gallery, 2006.

I Love the Burbs, exh. cat., 24. Katonah, NY: Katonah Museum of Art, 2006.

Keller, Judith et al., eds. Where We Live: Photographs of America from the Berman Collection, exh. cat. 19, 22, 30–31, 33, 88–89, 163, 182–83, 187–89, 192–93, 206, 214–15, 221. Los Angeles: J. Paul Getty Museum, 2006.

McQuade, Donald, and Christine McQuade. Seeing and Writing 3, 24–25, 192–200, 252. Boston: Bedford/St. Martin’s, 2006.

Noble, Laura. The Art of Collecting Photography, 172–73. Lausanne: AVA Publishing SA, 2006.

Parr, Martin and Gerry Badger. The Photobook: A History, vol, 2, 34-35. New York: Phaidon, 2006.

Richer, Francesca, and Matthew Rosenzweig, No. 1: First Works by 362 Artists, 360. New York: Distributed Art Publishers, 2006.

Stories, Histories—Set 3, exh. cat. Zurich: Fotomuseum Winterthur, 2006.

Wolfe, Ann M. Suburban Escape: The Art of California Sprawl, 38. Santa Fe. NM: The Center for American Places, 2006.

2005

Goldberg, Vicki. Light Matters: Writings on Photography, 154–58. New York: Distributed Art Publishers, 2005.

Langford, Martha, ed. Image and Imagination, 13, 149–51, 153. Montreal: McGill-Queen’s University Press, 2005.

Kennedy, Marla Hamburg, and Ben Stiller, eds. Looking at Los Angeles, 153–54, 179. New York: Metropolis Books; Distributed Art Publishers, 2005.

Nützlich, süß und museal: Das fotografierte Tier [Useful, Cute and Collected: The Photographed Animal], exh. cat. Göttingen: Steidl; Essen: Museum Folkwang, 2005.

Real Pictures: Photographs from the Collection of Claudia Beck and Andrew Gruft, exh. cat.,104. Vancouver: Vancouver Gallery, 2005.

2004

Citigroup Photography Prize 2004, exh. cat., 79–96. Vicenza: Graphicom Italia, 2004.

Cotton, Charlotte. The Photograph as Contemporary Art, 108. New York: Thames and Hudson , 2004.

Skerrett, Penny. “Everything’s Gone Green: Photography and the Garden.” In ARCHIVE MAGAZINE, exh. booklet, 20–27. Bradford, England: National Museum of Photography, Film and Television, 2004).

2003

Calvenzi, Giovanna. Italia: Portrait of a Country Throughout 60 Years of Photography, 322-323. Rome: Contrasto, 2003.

Campany, David. Art and Photography: Themes and Movements, 192. London: Phaidon, 2003.

Cousineau-Levine, Penny. Faking Death: Canadian Art Photography and the Canadian Imagination, 38.

Montreal: McGill-Queen’s University Press, 2003.

Der fotografierte Mensch in Bildern der Fotografischen Sammlung im Museum Folkwang, exh. cat., 57. Essen: Museum Folkwang, 2003.

Hartshorn, Willis E., Edward W. Earle, Christopher Phillips, Carol Squiers, and Brian Wallis. Strangers: The First ICP Triennial of Photography and Video, exh. cat., 96–99. Göttingen: Steidl Publishers; New York: ICP, 2003.

Passengers, exh. cat., 100–107. Paris: Editions Asa; Lisboa Photo, 2003.

The Photographed People in Pictures from the Photography Collection of the Folkwang Museum, exh. cat., 57. Essen: Folkwang Museum, 2003.

Weber, Bruce. All American: Family Albums. New York: Little Bear Press, 2003.

2002

The Culture of Violence, exh. cat., 76, Amherst, MA: University Gallery, University of Massachusetts Amherst: 2002.

Reclaiming the High Line, 10, 13, 30-31, 62-63. New York: Ivy Hill Corporation, 2002.

Schaller, Matthias Petrus. Werkbildnis, 67-69. Munich, Germany: Thomas Bauer Verlag, 2002.

Vision from America: Photographs from the Whitney Museum of American Art: 1940–2001, exh. cat., cover, 201. Munich: Prestel , 2002.

2001

Gursky, Andreas. Andreas Gursky, 21–23. New York: Museum of Modern Art, 2001. Frazier, Ian et al. Stranger Passing. New York: Bullfinch Press, 2001.

Made in California: Art, Image, and Identity 1900-2000, exh. cat. Los Angeles: Los Angeles County Museum of Art, 2001.

Roth, Andrew. The Book of 101 Books: Seminal Photographic Books of the Twentieth Century, 19, 260-261. New York, PPP Editions, 2001.

Seelig, Thomas, Urs Stahel, and Martin Jaeggi, eds. Trade: Commodities, Communication, and Consciousness, exh. cat., 207-209. Zurich: Scalo, 2001.

2000

Barron, Stephanie, Sheri Bernstein, and Ilene Susan Fort, eds. Made in California: Art, Image, and Identity, 1900-2000, 240-241.

Los Angeles: Los Angeles County Museum of Art, 2000.

Galassi, Peter. Walker Evans and Company, exh. cat., 111, 135, 151. New York: Harry N. Abrams: Museum of Modern Art, 2000.

1999

Davis, Keith F. An American Century of Photography: From Dry-Plate to Digital, 444. 2nd Ed. Kansas City: Hallmark Cards, 1999.

Glasmeier, Michael, ed. Private Eye: Crimes and Cases, 54-55, 82. Berlin: Haus am Waldsee, 1999.

1998

George, Alice Rose and Lee Marks. Hope Photographs, 110-111. New York: Thames and Hudson, 1998.

1996

Phillips, Sandra S., Richard Rodriguez, Aaron Betsky, Eldridge M. Moores. Crossing the Frontier: Photographs of the Developing West, 1849 to the Present,exh. cat., inside cover, plate 99. San Francisco: San Francisco Museum of Modern Art, 1996.

Shepard, Sam. Cruising Paradise, cover. London: Secker and Warburg, 1996.

1995

Cahill, Kevin M., M.D., and Thomas Roma. Silent Witnesses, 25-26. New York: Harper Collins, 1995. J

ohnson, Brooks. Photography Speaks II, 110-111. Norfolk, VA: Chrysler Museum of Art, 1995.

Yau, John, Murder, exh. cat.. Santa Monica: Smart Art Press, 1995.

1994

Vi Fotobienal, exh. cat. 23-27. Vigo, Spain: Concello de Vigo, 1994.

1993

McManus, James. Great America, cover. New York: Harper Collins, 1993.

Photographs from the Real World, exh. cat., 170-182. Lillehammer: Lillehammer Art Museum, 1993. Über die großen Städte, exh. cat., 142-145. Berlin: Nuen Gesellschaft für Bildende Kunst, 1993.

1991

Galassi, Peter. Pleasures and Terrors of Domestic Comfort, exh. cat., 40, 49, 68, 69. New York: Museum of Modern Art, 1991.

1990

Deitch, Jeffrey and Dan Friedman. Artificial Nature, exh. cat. 108-109. Athens, Greece: Deste Foundation for Contemporary Art, 1990.

The Indomitable Spirit, exh. cat., plate 40. New York: Photographers and Friends United Against AIDS, 1990.

1989

Greenough, Sarah, Joel Snyder, David Travis, and Colin Westerbeck, eds. On the Art of Fixing a Shadow: One Hundred and Fifty Years of Photography, exh. cat., 449. Washington, D.C.: National

Gallery of Art, 1989.

The Art of Photography 1839-1989, exh. cat. plates 338-341. New Haven, CT: Yale University Press, 1989.

1987

American Dreams, exh. cat., 33, 37. Madrid : Ministerio de Cultura, Dirección General de Bellas Artes y Archivos, 1987.

Eauclaire, Sally. American Independents: Eighteen Color Photographers, 193–205. New York: Abbeville Press, 1987.

1986

50.Jahre moderne Farbfotografie, 1936-1986/ 50 Years: Modern Color Photography 1936-1986, exh. cat.,

Cologne: Messe-und-Ausstellungs-Ges.m.b.H., 1986.

1985

Turner, Peter. American Images: Photography 1945-1980, exh. cat., 232-233. London: Barbican Art Gallery, 1985.

1984

Eauclaire, Sally. American Independents, 193-205. New York: Cross River Press, 1984.

Eauclaire, Sally. New Color/New Work, 238–53. New York: Abbeville Press, 1984.

Hunter, Sam.The Museum of Modern Art: The History and the Collection, 525. New York: Henry N. Abrams; Museum of Modern Art, 1984.

1983

Color in the Street , exh. cat., 10. Riverside, CA: University of California, 1983.

Subjective Vision, exh. cat., 42. Atlanta, GA: High Museum of Art, 1983.

1982

20th Century Photographs from the Museum of Modern Art, 98. New York: Museum of Modern Art, 1982.

American Roads: A Portfolio of Twenty Artists’ Photographs,, 11. Petaluma, CA: Singer Printing, 1982.

Place: New England Perambulations, exh. cat., 8-9. Andover, MA: The Addison Gallery of American Art, Phillips Academy, 1982.

1981

Eauclaire, Sally. The New Color Photography, 122, 144, 166–75. New York: Abbeville Press, 1981.

1980

New Jersey: Unexpected Pleasures, 142-149. Princeton, NJ: United Jersey Banks, 1980.

1979

One of a Kind: Recent Polaroid Photographs, exh. cat.,Plates 28-31. Boston: David Godine Publisher, 1979.

1972

Klukoff, Philip J. In Night’s Chirp, cover. Christchurch, New Zealand: Pegasus Press, 1972.


PERIODICALS;

2017

Crisell, Hattie. “Old Photographs That Capture America at a Crossroads.” T Magazine: The New York Times, 24 January 2017.

Lipton, Shana Ting. “Joel Sternfeld on His Classic American Prospects – and His New Work.” British Journal of Photography (online), February 7, 2017.

“Parco degli Acquedotti: Joel Sternfeld, 1989-1991” Lotus International: Archaeological Parks, no. 162 (2017): cover, 48-53.

O’Hagen, Sean. “The Drifter: Joel Sternfeld on His Sly Glimpses of Wild America.” Guardian, 11 January 2017.

2016

Smee, Sebastian. “Impressive Show Navigates Landscape and the Sublime.” Boston Globe, 8 August 2016.

“What We Wore.” New York Magazine, May 16-29, 2016: 55-56.

2015

Heuer, Renko. “Color Coordination.” Lodown 97, August/September 2015: 102-107.

Stuart Huges, Holly. “End Frame—Lessons in Seeing.” PDN, March 2015: 96.

2014

Blind Spot, no. 47 (Spring/Summer 2014): 85.

Cunningham, Michael. “Sleepless.” Document, no. 5 (Fall/Winter 2014): 402-403.

Jiang, Rong. “Joel Sternfeld: American Utopia and Its Discontents.” Photoworld 391 (July 2014): 66– 77.

Pitz, Marylynne. “Lens on the World.” Pittsburgh Post-Gazette, 22 January 2014: C1-C3.

“Save the Tracks: The Fight to Save one of Manhattan’s Last Untamed Expanses.” Welcome to the High Line at the Rail Yards, Fall 2014: 21.

2013

“Joel Sternfeld’s Best Photograph When Climate Change Sinks In.” Guardian, 20 February 2013.

Lelyveld, “Inside Our New America” in The New York Review of Books 60, no. 10 (6 June 2013): 27. “

“Nejvetší svoboda je v tvorbe neužitečného.” Era 21, no. 1 (2013): 27.

Sternfeld, Joel. “Momentary Views.” Aesthetica, no. 54 (August/September 2013): 38–49. portfolio.

Wolinski, Natacha. “American Prospects.” Air France Magazine, February 2013: 76–83.

2012

Assenat, Marie. “Joel Sternfeld.” New Yorker, 30 January 2012: 9.

Bright, Susan. “Profile: Joel Sternfeld—First Pictures.” British Journal of Photography, January 2012: 52– 63.

Durand, Regis. “Unrestricted View.” L’architecture d’aujourd’hui, no. 388 (March–April 2012): 134–43.

Gaebe, Carly. “Color Is the Real World: Joel Sternfeld at Luhring Augustine.” Artinamericamagazine.com, 11 January 2012.

Helle, Nancy. “Art of Exploration: A Rewarding Journey at the Westport Arts Center.” Venü Contemporary Culture, no. 14 (July/August 2012): 26-27.

Keats, Jonathon. “Do Not Trust This Joel Sternfeld Photograph.” Forbes, 6 September 2012, www.forbes.com/sites/jonathonkeats/2012/09/06/do-not-trust-this-joel-sternfeld-photograph/

Markus, David. “Joel Sternfeld: Luhring Augustine.” Art in America, no. 7 (March 2012): 158–59.

Menou, Antigoni. “Globalisation and the Art Photography of Joel Sternfeld.” Photographies 5, no. 1 (March 2012): 3–18.

Meyers, William. “On Photography: Joel Sternfeld: First Pictures.” Wall Street Journal, 14–15 January 2012: A20.

Rushton, Susie. “Road Trip: Joel Sternfeld’s Arizona.” Independent Magazine, 4 February 2012: 36–37, 39.

Walsh, Brienne. “Joel Sternfeld.” Art Review, no. 57 (March 2012): 125.

Wetzker, Wibke. “Revolutionskino Im Jahre Null: Ein Besuch beim Abu Dhabi Film Festival.” Spex, January/February 2012: 104-109.

2011

“2011 Swim Suit Issue.” Dear Dave, Spring 2011: 31.

“Amerika in Farbe.” Heinz Magazin, July 2011.

“Amerikanische Augenblicke.” Kunstmarkt.com, 20 July 2011.

App, Volkhard. “Landvermesser des Amerikanischen Kontinents.” Dradio.de, 15 July 2011

Artz, Kerstin. “Bilder vom tristen Amerika.” Rheinische Post, 9 August 2011.

Ausstellung: Museum Folkwang, Essen.” Kultur-geniessen.de, 4 July 2011.

Bartel, Jörg. “Die Ironie steckt im Detail.” WAZ/NRZ, 15 July 2011

Bicker, Phil. “Joel Sternfeld: A Modern Master’s First Pictures.” Time Lightbox [blog], 12 October 2011, http://time.com/3781693/joel-sternfeld-a-modern-masters-first-pictures/.

Bochynek, Martin. “Die Amerikanische Alternative,” Kölner Stadtanzeiger, 19 July 2011.

Bodin, Claudia. “Amerikas Darling.” Art Magazin, August 2011: 62–71.

Boisseree, Clemens. “Eine Prise Sonnenschein für’s Folkwang.” NRZ, 22 July 2011

Büsing, Nicole and Heiko Klaas. “Nah Dran und in Farbe.” Kunst in Argentinien.de, Argentinien, 22 August 2011.

Büsing, Nicole and Heiko Klaas, “Panorama Amerikanischer Augenblicke.” Saarbrücker Zeitung, 22 July 2011.

Capodici, Chiara. “Unfulfilled Utopias,” trans. Riccardo James Vargiu. Lazlo Magazine: On Dwelling, no. 0 (2011): 80–81.

Davies, Lcy. “Revealing Landscapes.” Telegraph Magazine, 24 September 2011: 56–63.

Denkeler, Friedhelm. “Joel Sternfeld-Der Vertreter der “New Colour Photography” im Museum Folkwang in Essen.” Denkeler-Foto.de, 2 August 2011.

Deuter, Ulrich. “To Look for America.” K. West- Das Kulturmagazin des Westens, July/August 2011.

Häntzschel, Jörg. “Amerika auf der Sper.” Süddeutsche Zeitung, 11 July 2011.

Hesse, Kai-Olaf. “No Retrospective! Die Grammatik des Anliegens.” PhotoNews, September 2011: 8.

Hoffmans, Christiane. “Die Entdeckung Amerikas.” Welt am Sonntag, 8 August 2011.

Hohmann, Angela. “Amerika satt in Farbe.” Kunst und Auktionen, September 2011.

“Joel Sternfeld, ‘Farbfotografien seit 1970.’” Monopol, October 2011: 131.

“Joel Sternfeld, Farbfotografien seit 1970.” Photopresse.de, July 2011.

“Joel Sternfeld,” Blind Spot, no. 44 (2011): 65–72.

“Joel Sternfeld im Museum Folkwang.” Kulterkenner.de, August 2011.

Kirk, Emma Von. “Die Welt, in der wir leben.” Newsline Westdeutsche Zeitung, 27 July 2011.

Koldehoff, Stefan. “Er hat den Farbfilm nicht vergessen.” Die Welt, 5 August 2011.

Kothenschulte, Daniel. “Joel Sternfeld in Essen.” Monopol, September 2011: 115-117.

Kröner, Magdalena. “Spaziergang auf der Hochbahnstrecke.” Frankfurter Allgemeine Zeitung, 5 August 2011.

Kuhn, Thomas W. “Joel Sternfeld: Farbfotografien seit 1970.” Kuntsforum, September 2011: 334-336

Kuhn, Wiebke Anabess and Bastian Will. “Die Bunte Welt des Joel Sternfeld.” Financial Times Deutschland, 18 July 2011..

Kuhna, Martin. “Ey Cool: Bilder!” K. West- Das Kulturmagazin des Westens, July/August 2011.

“Les Passantes Vues par Joel Sternfeld,” Connaissance des Arts Photo, Quartal 2011.

Lettmann, Achim. “Eine Balance mit Grau.” Westfälischer Anzeiger, 15 July 2011.

Lorch, Catrin. “Das Schreckliche wird immer Schöner.” Süddeutsche Zeitung, 2 September 2011, 12–13.

Lüddemann, Stefan. “Roadmovie des einsamen Jägers.” Neue Osnabrücker Zeitung, 2 August 2011.

“Museum Folkwang.” Mitteilungsblatt der Stadt Essen, 8 July 2011.

O’Hagan, Sean. “Joel Sternfeld’s First Pictures: The Opening Chapter of a Colourful Career.” The Guardian.com, September 20, 2011.

Polzer, Lydia. “Lydia Polzer’s ‘Significant Shot.’” Nova Blog, 13 January 2011.

Rong, Jiang. “The Landscape Photographs That Ansel Adams Wouldn’t Take.” Chinese Photography, no. 12 (December 2011): 25–45.

Schemmer, Julia. “Bilder des Amerikanischen Lebens.” Ruhr Nachrichten, 14 July 2011.

Schlüter, Maik. “Amerikanische Tatorte.” Taz, 23 August 2011.

Wacht, Alexandra. “American Beauty.” Art.net, 5 August 2011.

Wilmes, Hartmut. “Persönlichkeit statt gefälliger Posen.” Kölnische Rundschau, 6 August 2011.

SiteLines 5, no. 2 (Spring 2010): 3-9.

Sternfeld, Joel. “Portfolio.” foam, no. 23 (summer 2010): 175–90.

Taylor, Alex. “Staged, Startled and Photographed.” New York Observer: Home, Spring 2010: 14.

Volzke, Daniel. “Early Work.” Monopol, no. 1 (January 2010): 68–81.

Wells, Liz. “Enigmatic Landscapes.” Exit, no. 38 (May–July 2010): 48–51.

Wiley, Chris. “Castles Built on Sand: Joel Sternfeld’s iDubai.” foam, no. 23 (Summer 2010): 191–94.

2009

Edwards, Steve. “Commons and Crowds: Figuring Photography from Above and Below.” Third Text: Critical Perspectives on Contemporary Art & Culture 99, no. 4 (July 2009): 447, 460–64.

Filler, Martin. “Up in the Park,” New York Review, 13 August 2009: 12-14. Interview, Metropolis, www.arte.tv, August 15, 2009.

Kerouac, Jack. “On the Road.” Exit, no. 34 (May–July 2009): 76–100.

“On This Site.” Ein Magazin über Orte, no. 5 (Spring 2009): 49–53.

Pollack, Barbara. “Into the Sunset: Photography’s Image of the American West.” Time Out New York, no. 706 (9–15 April 2009): 51.

Tessmer, Leonie. “Hoch Gewachsen.” 21 grad: Das Vaillant Magazin, Winter 2009: 32–33.

Wolinski, Natacha. “Joel Sternfeld: A Corrosive Truth.” Paris: Beaux Arts Editions : 200–201.

Yochelson, Bonnie. “The United Nations of Queens.” New York Times, 4 January 2009.

2008

Crewdson, Gregory. “In a Lonely Place.” Aperture, no. 190 (Spring 2008): 80.

Ehrlich, Gretel. “Joel Sternfeld: Oxbow Archive.” Aperture, no. 192 (Fall 2008): 74-81.

“Joel Sternfeld.” New Yorker, 29 September 2008, 16.

Johnson, Ken. “Art in Review: When Color Was New: Vintage Photographs from around the 1970’s.” New York Times, 8 August 2008.

Lili, Yang. “On Joel Sternfeld’s Photography.” Art China, no. 8 (2008): 52-57.

Riethmüller, Susanna. “Lebe Lieber Ungewohnlich.” Flair, May 2008: 88-94.

Sholis, Brian. “Joel Sternfeld, Luhring Augustine.” Artforum, November 2008: 349.

Solway, Diane. “Peter Doig” W, November 2008: 276, 279.

Ventur, Conrad. “When it Changed.” Useless, no. 8 (2008): 11.

Vetrocq, Marica E. “Rules of Engagement.” Art in America, no. 6 (June/July 2008): 172–73.

Yochelson, Bonnie. “Little Boxes, Transformed by the Years.” New York Times, 26 December 2006.

2007

Artner, Alan. “Joel Sternfeld’s Pictures Point to Grand ‘Prospects.’” Chicago Tribune, 19 October 2007, 7:24.

Jimenez, Carlos. “Photo España: The Landscape as a Problem.” ArtNexus 6, no. 63 (2007): 120–23.

Jobey, Liz. “Street Pictures: Joel Sternfeld.” Granta: The Magazine of New Writing, no. 99 (Fall 2007): 65–83.

“Joel Sternfeld: Experimental Utopia in America.” archphoto.it, 2007. http://archivio.archphoto.it/2007/09/26/joel-sternfeld_experimental-utopia-in-america

Kerr, Merrily. “Portraits.” Time Out New York, 8–14 November 2007: 69.

“Public Art Goes Green.” Art in America, no. 2 (February 2007): 31.

Sternbergh, Adam. “The Highline: It Brings Good Things to Life.” New York Magazine, 7 May 2007: 30, 32–33.

Sternfeld, Joel. “Salvation Mountain.” Cabinet, no. 27 (Fall 2007): 91.

Wolinski, Natacha. “Joel Sternfeld: Une vérité corrosive.” Beaux-arts magazine, April 2007: 182.

2006

Blind Spot: A Tribute, no. 32 (2006).

“Cover Story.” Pluk, Autumn 2006: cover, 5.

Douglas, Sarah. “Ticket to Rise.” Art and Auction, May 2006: 75.

“Exhibition at Katonah Museum Explores US Suburban Realms.” Antiques and The Arts Weekly, 6 January 2006: 64-A.

Fernández, Horacio. “Paraíso Recordado, Paraíso Perdido.” Minerva, 2006: 88-100.

Frey, James. “On Cover Photographer Alec Soth.” BlackBook, October/November 2006: 34.

Guillot, Claire. “Nature/Humaine.” Le Monde 2, 24 June 2006: 36-43

Henry Art Gallery Newsletter, Spring/Summer 2006: 5.

Hershenson, Roberta. “There’s More to It Than a Manicured Lawn.” New York Times, 8 January 2006.

Joel Sternfeld: Sweet Earth.” foam, no. 9 (Winter 2006–2007): 15, 34–53.

Luby, Abby. “The Journey to Utopia and Back.” Greenwich Times, 29 January 2006: D3, D7.

“The Journey to Utopia and Back.” Scarsdale Inquirer, 10 March 2006: 19–20.

Pederson, Martin C. “From Here to Utopia.” Metropolis, June 2006: 148-153.

Rachleff, Melissa. “Joel Sternfeld, Sweet Earth: Experimental Utopias in America (Luhring Augustine Exhibition Review).” exposure, Spring 2006: 51.

“Shelters for the Soul.” Seven, 22 October 2006: 18-21.

“Sweet Earth: Photographs by Joel Sternfeld.” COURRiER Japon, no. 25 (12 July 2006): 43–45.

Vuijst, Freke. “Utopia bestaat- in Amerika.” Vrij Nederland, 27 May 2006: 48-57.

“Walking the High Line.” Drawbridge, no. 2 (Summer 2006): 3.

Wolinski, Natacha. “Joel Sternfeld: Mystic Fantasy.” Beaux-Arts Magazine 266 (August 2006): 70–77.

Woodward, Richard B. “Altered States.” ARTnews, March 2006: 108–9.

2005

Adams, Lucia. “When it Comes to Photography, Variety Rules in Chelsea.” Chelsea Clinton News, 13-19 October 2005: 6.

Amy, Michaël. “‘You Talkin’ to Me?’ Violence in Contemporary Art.” (Ph. D. Dissertation)

Braunschweiger, Amy. “Paradise Lost.” Village Voice, 16–22 November 2005: 38. Cotter, Holland. New York Times, 2 October 2005: 35.

New York Times, 14 October 2005: E36.

Diaz, Eva. “Joel Sternfeld, Sweet Earth: Experimental Utopias in America.” Time Out New York, 20 September–5 October 2005: 92.

Finkel, Jori. “A Career in Pictures.” Art and Auction, February 2005: 86–88.

Gefter, Philp. “Portraits of American Paradises, Mostly Lost.” New York Times, 18 September 2005: 32.

Gurganus, Allan. “Nags Head, North Carolina, June 1st, 1956, 73 Degrees.” Aperture, no. 180 (Fall 2005): 16–23.

Lisalo, Meri. “Minun Amerikkani.” Image, January 2005: 94–99. “Nasil Bir Hayat Isterdiniz?” Geniş Açı, 2005: 26-27.

Powers, Bill. “Sternfeld’s Sweet Spot.” Black Book, Fall 2005: 42.

Review of American Prospect. In “The American Dream,” special issue of Boldtype, no. 7 (May 2004).

Schwendener, Martha. “Joel Sternfeld / Luhring Augustine.” Artforum, December 2005: 277–78.

“Shooting Eden.” British Journal of Photography 152, no. 7561. 7 December 2005: 24-27.

2004

Aletti, Vince. “Flashback.” Art and Auction, February 2004: 66–78.

“Photobook.” Photograph, March/April 2004: 52.

Amy, Michael. “Joel Sternfeld, Luhring Augustine.” Art in America, May 2004: 157.

“Art: Citigroup Photography Prize.” The Independent, 24 January 2004.

Auletta, Ken. “Fortress Bush.” New Yorker, 19 January 2004: 58–59.

Bennett, Oliver. “Out of the Ordinary.” Design Week, 8 January 2004.

Blank, Bill. “American Prospects by Joel Sternfeld.” 134.

Chapman, Peter. “Citigroup Prize.” Independent, 24 January 2004.

“Citigroup Prize Winner Announced.” Art on Paper 8, no. 5 (May/June 2004): 15. “The Citigroup Prize 2004.” Attitude, January 2004.

“The Citigroup Photography Prize 2004.” HotShoe, December 2003/January 2004.

Crewdson, Gregory. “Aesthetics of Alienation,” Tate Etc. 1, no. 1 (Summer 2004): 42–47.

Dyer, Geoff. “American Pastoral.” The Sunday Telegraph Magazine, 28 March 2004: 28-31.

Etholén, Katrina. “Joel Sternfeld: Maisema yhteisön kuvaajana.” Kamera, June-July 2004: 10-16.

Frankel, Stephen Robert. “Joel Sternfeld at Luhring Augustine.” Art on Paper 8, no. 5 (May/June 2004): 82–83.

Gefter, Philip. “Why Photography Has Supersized Itself.” New York Times, 20 April 2004.

Greenwood, Phoebe. “Love, Or At Least Collaboration, Is in the Air,” The Times, 2 February 2004.

Güner, Fisun. “Snap Happy.” Metro London, 3 February 2004.

Hackworth, Nick. “Images of Wonder from a US Road Trip.” Evening Standard, 29 January 2004

Halle, Howard. “Blow Up.” Time Out New York, 22–29 January 2004: 55.

Higgins, Charlotte. “Photography; False Witness.” Guardian, 10 March 2004.

“An Ideal World.” In “Sustainability,” special issue of Daylight Magazine, no. 3 (Fall 2004).

“I Grandi Scatti di Joel Sternfeld: Affari in vista per collezionisti rapidi e raffinati.” Arte, April 2004: 206.

“Joel Sternfeld.” New Yorker, 26 January 2004: 16.

“Joel Sternfeld: The Landscape of Longing.” Blind Spot, no. 26 (2004).

Louth, Sean. “Veteran Four Set For Citigroup Shoot-Out,” British Journal of Photography, 4 February 2004.

Meyers, William. “Those Nice, Bright Colors.” New York Sun, 5 February 2004: 18.

Milani, Joanne. “Photographic Visions.” The Tampa Tribune , 22 February 2004.

O’Hagan, Sean. “Driven to the Edge.” Guardian, 1 February 2004.

Pittman, Joanna. “Rearview Mirror: The Shortlist for the 2004 Citigroup Prize Shows a Surprisingly

Retrospective Bent.” London Times, 3 February 2004.

Pollack, Barbara. “Art Basel: Roland Augustine.” Art and Auction, June 2004: 72.

Rae, Ines. “More Plant Matters: Everything’s Gone Green, Photography and the Garden and Simone

Nieweg: Landscapes and Gardens are at NMPFT, Bradford 21 May—26 September.” Source, Summer 2004.

Rosenberg, Karen. “Hue and Cry.” New Yorker, 12 January 2004: 79.

Salter, Kate. “Critics’ Choice.” The Sunday Telegraph, 25 January 2004.

Schambelan, Elisabeth. “Joel Sternfeld, Luhring Augustine.” Artforum, April 2004: 158.

Schappel, Elisa. “Hot Type.” Vanity Fair, April 2004: 128.

Schuman, Aaron. “I Walk the Line.” Introduction by Joel Sternfeld. ArtReview 54, October 2004: 74.

Searle, Adrian. “Smashing Pumpkins.” Guardian, 29 January 2004.

“Short List.” Village Voice, 4–10 February 2004: 52–53.

Shuckburgh, Hannah. “Agenda.” ARTReview, March 2004: 26.

Smee, Sebastian. “The Citigroup Photography Prize,” Daily Telegraph, 24 January 2004.

New York Times, 18 January 2004: 30.

Ward, Ossian. “And the Winner Is . . .” Art and Auction, October 2004: 118–23.

Waxman, Lori. “Picturing Failure.” Parachute, July–September 2004: 30–45.

Woodward, Richard B. “Joel Sternfeld versus His Successors.” New York Times, 18 January 2004: 30.

2003

“American Virtuoso.” ARTReview, February 2003: 30–32.

“America the Improbable.” New York Times, 7 January 2003.

Badke-Berkow, Joseph. “Green Sky.” Paper Sky, no. 6 (Summer 2003): cover, 46-51.

Chapman, Peter. “Joel Sternfeld: The Photographers’ Gallery, London.” Independent, 11 January 2003.

“Citigroup Shortlist Rings the Changes.” British Journal of Photography, 12 November 2003

Clayton, Richard. “Decent Exposure.” Design Week, 12 December 2003.

Cooper, Emmanuel. “Everyday Paradoxes.” Tribune, 17 January 2003.

Ezard. John. “Citigroup Prize: Study of South African Commuters Shortlisted.” Guardian, 4 November 2003.

Hallet, Florence. “Joel Sternfeld.” What’s on in London? 8 January 2003.

“Joel Sternfeld.” Free Eye Magazine, February 2003.

“Joel Sternfeld: The Photograph’s Gallery.” Art Newspaper, January 2003.

Moakley, Paul. “Life on the Road: Joel Sternfeld on Robert Adams.” PDN, June 2003: 144.

Oddy, Jason. “Making the Past Present.” Modern Painters, Summer 2003: 26–28.

“Set in the Citi.” Panorama, October 2003.

2002

Anderson, Hephzibah. “Opening This Week Joel Sternfeld.” LIFE, 29 November–5 December 2002.

Cavouras, Krissa Corbett. “View Master.” American Photo On Campus, September 2002: 18-21.

Connors, Philip. “A Magic-Carpet View of the City.” Wall Street Journal, 22 August 2002.

Guner, Fisun. “That’s All Folks.” METRO, 5 December 2002.

Hattam, Jennifer. “Restoration Art.” Sierra, May/June 2003: 48-49.

“Joel Sternfeld/The John Hinde Butlin’s Photographs, London.” Guardian, 29 November 2002.

Kaiser, Mario. “Die Insel der Toten.” Mare, no. 33 (August/September 2002): 91-97.

The Photographers’ Gallery Magazine, 8,19. April-May 2002.

Robinson, Walter. “Book Report.” Artnet.com, 26 June 2002. http://www.artnet.com/Magazine/index/robinson/robinson6-26-02.asp.

Sternfeld, Joel. “Beautiful Dreamers: Utopia in America.” Doubletake, no. 28 (Spring 2002): 50–55.

Tarshis, Jerome. “Joel Sternfeld at SFMOMA.” Art in America, no. 3 (March 2002): 139.

Traub, James. “A Lesson in Unintended Consequences.” New York Times Magazine, 6 October 2002: 71.

2001

Bonetti, David. “Sternfeld’s Photos Make Up Eclectic American Portrait.” San Francisco Chronicle, 6 July 2001.

Coupland, Ken. “Critic’s Choice: Joel Sternfeld.” The Monthly, July 2001.

Gopnik, Adam. “A Walk on the High Line.” The New Yorker, 21 May 2001: 44-49.

Hummer, Tracey C. “High Hopes for the High Line.” Art in America, October 2001: 192.

Lazere, Arthur. “Stranger Passing: Collected Portraits by Joel Sternfeld.” Culturevulture.net, 7 July 2001. http://www.culturevulture.net/ArtandArch/Sternfeld.htm

Najafi, Sina. “On the High Line.” Cabinet, no. 3 (Summer 2001): 44-47.

“On This Site: Landscape in Memoriam.” Australian PhotoJournalist 7, no. 1 (2001): 25-30.

“Parks Transformed.” DoubleTake, Special Edition 2001: 8-11.

“San Francisco Treats: Stranger Passing: Selected Portraits by Joel Sternfeld.” Flaunt, July 2001.

Smith, Roberta. “Art in Review.” New York Times, 28 December 2001

Ttruax, Alice. “At the Museums: Americans.” New Yorker, 9 July 2001: 90.

Whitehead, Colson. “The Image.” New York Times Magazine, 23 September 2001: 21.

Woodward, Richard B. “Portraits Picked Out of The Crowd.” New York Times, 19 August 2001: 29, 31.

1999

Woodward, Richard B. “In an Indoor Age, the Streets Remain His Studio,” New York Times, 12 December, 1999.

1998

Grundberg, Andy.“Photography: Review: Hart Island by Melissa Hunt and Joel Sternfeld.” New York

Times, 06 December 1998, p.60.

Hoffmann, Detlef. “Re-Visionen.” Fotogeschichte vol. 18, issue 67 (1998), p. 73-77.

Jobey, Liz. “Photographer Joel Sternfeld: Close Encounters.” The Guardian, 17 October, 2008.

Plath, Nils. “Hart Island: eine Reise zu einer verbotenen Grabstatte [Hart Island: a journey to a forbidden cemetery.” Kunst Bulletin 11 (November 1998): 16-21.

1997

Altwegg, Jürg. “Als Wäre Nie Etwas Geschehen.” Frankfurter Allgemeine Magazin, no. 44 (31 October 1997): 24-30.

Artner, Alan. “Crime Scenes: Joel Sternfeld’s Photographs Quietly Recall Acts of Violence.” Chicago Tribune, 24 January, 1997.

DoubleTake 3, no. 1 (Winter 1997): cover, 4.

Engley, Hollis L. “Ghosts of Violence.” Detroit News, 28 February 1997.

Loke, Margarett. “Scenes to Make You Say ‘Oh Boy!’” New York Times, 25 July 1997.

1994

Flaherty, Dolores and Roger Flaherty. “Achieving a Sense of Where You Are.” Chicago Sun-Times, 12 June 1994: 15.

Goldberg, Vicki. “A Baedeker to America in the Age of Anxiety.” New York Times, 13 February 1994: 34, 36.

Homes, A. M. “Haunting Grounds: Joel Sternfeld’s Crime Sights.” Artforum, March 1994: 78–83.

Hurley, Jack. “Ambiguity Keeps Viewer Seeking Hidden Meanings.” Commercial Appeal, 15 May 1994.

Strand, Monica. “Windows on America, Gates to its Gardens.” Sun-Sentinel, 10 April 1994.

Wilson, Mark. “Looking at Everyday Places with Wit, Color, and Detail.” Boston Globe, 3 April 1994.

1992

“From Home to Rome, New Photography Collections.” USA Today, 11 December 1992.

Thall, Larry. “Sterfeld Captures Contemporary America’s Ambiguity.” Chicago Tribune, 17 July 1992: 80-81.

1991

Goldberg, Vicki. “In the Ruins of Rome.” American Photo, January/February 1991: 50-51.

Hagen, Charles . “The Campagna Romana Viewed by Joel Sternfeld.” New York Times, 20 September 1991: C22.

“Joel Sternfeld: The Faces of America.” American Photo, May/June 1991.

“Joel Sternfeld.” The Village Voice, 15 October 1991.

Kimmelman, Michael. “Joys and Terrors on the Home Front.” New York Times, 27 September 1991: B6.

“Photography.” New Yorker, 14 October 1991.

Plagens, Peter. “A House is not a Home.” Newsweek, 21 October 1991: 62-63.

1990

Jones, Peter C. “Hot Photographers.” Connoisseur, November 1990: 150-155, 185.

1989

Aperture,no. 114: Self and Shadow (Spring 1989): 40-42. Art News 88, no. 4 (April 1989): 145.

Foerstner, Abigail. “2 Exhibits Portray the Relationship of Artist and Subject.” Chicago Tribune, 30 June 1989: 81-82, 84.

Jeffrey, Ian. “Time and its Contents.” The Royal Academy Magazine, Autumn 1989: 19-22.

Lacayo, Richard. “Drawn by Nature’s Pencil.” Time Magazine 133, no. 9 (27 February 1989): 67.

Newsweek Magazine 114, no. 8 (21 August 1989): 52.

“Street Scenery.” Smart Magazine, no. 6 (November/December 1989): 24-25.

1988

Degener, Patricia. “America: As Is.” St. Louis Post-Dispatch, 14 January 1988.

Dorsey, John. “Discovery is Part of the Pleasure of Joel Sternfeld’s Photographs at BMA.” Today, 29 June 1988.

“Joel Sternfeld Photographs at the Baltimore Museum of Art.” Antiques and The Arts Weekly, 17 June 1988: 9.

Life Magazine 11, no. 10: 150 Years of Photography (Fall 1988): 12-13.

Purchase, Steve. “Sternfeld’s Photos Intriguing, Delightful.” The Evening Sun, 11 August 1988.

1987

Berryhill, Michael. “‘Prospects’: Promise and Pain in the USA.” USA Today, 7 April 1987.

Chadwick, Susan. “Sternfeld ‘Prospects’ Rich Vein of America’s Nature.” The Houston Post, 5 April 1987: 4F.

Chahroudi, Martha. “Twelve Photographers Look at Us.” Philadelphia Museum of Art Bulletin 83, nos. 354–355 (1987): 29.

Connoisseur, July 1987, 18.

Freudenheim, Susan. “Suburban Hamlets.” Artforum, May 1987: 137.

“In Search of America.” New York Times Magazine, 15 March 1987: 32- 35.

Lacayo, Richard. “Lovelorn Tracts, Minced Wilderness: Jousting with the Landscape in Joel Sternfeld’s America.” TIME, 20 April 1987: 84.

Levin, Eric. “American Prospects.” People Magazine 27, no. 22 (1 June 1987): 12.

Levin, Eric. “Twelve Photographers Look at Us.” People Magazine, 18 May 1987: 28-29

Livingston, Kathryn. “We the People.” American Photographer, July 1987: 30-32.

Roth, Evelyn. “American Dreams.” American Photographer 19, no.3(September 1987): 48-53.

Sozanski, Edward J. “An Unsentimental Focus on America.” Philadelphia Inquirer, 26, April 1987.

1986

Grundberg, Andy. “Photographers Who See Beyond Fact.” New York Times, 7 September 1986: 43-44.

Muller, Peter O. “Are Cities Obsolete?” The Sciences, March/April 1986: 46-47.

1985

Art, Das Kunstmagazin, July 1985: 50-59.

Wise, Kelly. “Realism  Invades the Landscape.” Boston Globe, 12 April 1985.

1984

Brenson, Michael. “A Critic’s Walk Through the New Modern Museum.” New York Times, 18 May 1984: C22.

Grundberg, Andy. “Photography View; A New Era of Image-Making.” New York Times, 30 December 1984.

McDarrah, Fred. “An Opinionated Survey of the Week’s Events: Photo.” The Village Voice, 6 November 1984.

“Critic’s Choice,” New York Times, , 6 October 1984.

Starenko, Michael. “Words and Pictures,” Afterimage, October 1984.

Thornton, Gene. “Critics’ Choices,” New York Times, 14 October 1984.

Wachs, Mary. “Ironic Harmonies.” Aperture, no. 96 (Fall 1984): 16-28.

1983

Asahi Camera, January 1983: 13-18.

Life Magazine, January 1983: 41-42.

1982

Art in America 70, no. 1 (January 1982): 27, 31.

Karmel, Pepe. “Joel Sternfeld at Daniel Wolf.” Art in America, Feburary 1982: 143.

“Joel Sternfeld.” Artforum, January 1982: 77-78.

1981

Davis, Douglas. “A Call to Colors.” Newsweek Magazine, 23 November 1981: 115-116.

Groenfeldt, Tom. “Soothing Portrait of America.” The Record, 20 October 1981.

Grundberg, Andy. “The Incredible Commonplace.” New York Times, 25 October 1981: 29.

Hedgpeth, Ted. “Cultivation and Alienation.” Artweek 12, no. 38 (14 November 1981): 11.

The New Republic, 16 December 1981: 30. New York Times, 30 August 1981: 29.

1980

Grundberg, Andy. “Inhabited Terrain: Joel Sternfeld’s American Landscapes.” Modern Photography 44, no. 3 (March 1980): 82-89.

“Recent Landscapes: Photographs by Joel Sternfeld.” Camera Arts, Premier Issue (November-ecember 1980): 46-55.

1979

Modern Photography 43, no. 3 (April 1979): 10.

1978

Modern Photography 42, no.12 (December 1978): 24.

1977

Camera 56, no. 7 (July 1977): 31.

Porter, Allan. “Photographis Interruptus.” Camera, vol. 56, no.11 (November 1977): cover, 16–24.

Modern Photography 41, no.7 (July 1977): 75.

1976

Modern Photography 40, no. 2 (February 1976): 78.

1975

Modern Photography 39, no. 8 (August 1975): 74.


SELECTED COLLECTIONS

Akron Museum of Art, Akron, OH

Art Institute of Chicago, Chicago, IL

Broad Art Foundation, Santa Monica, CA

California Museum of Photography, University of California, Riverside, CA

Dallas Museum of Art, Dallas, TX

European American Bank, New York, NY

Forbes Collection, New York, NY

Fotomuseum Winterthur, Zurich, Switzerland

Goldman Sachs, New York, NY

Groninger Museum, Groningen, The Netherlands

Hallmark Collections, Kansas City, MO

Herbert F. Johnson Museum, Cornell University, Ithaca, NY

High Museum of Art, Atlanta, GA

Houston Museum of Fine Arts t, Houston, TX

Indianapolis Museum of Art, Indianapolis, IN

ING Belgium Art Collection, Brussels, Belgium

J. Paul Getty Museum, Los Angeles, CA

Kemper Museum of Contemporary Art, Kansas City, MO

Maison Européene de la Photographie, Paris, France

Massachusetts Institute of Technology, Cambridge, MA

Metropolitan Museum of Art, New York, NY

Middlebury College, Middlebury, VT

Minneapolis Institute of Arts, Minneapolis, MN

Museum Folkwang, Essen, Germany

Museum of Contemporary Art, San Diego, CA

Museum of Modern Art, New York, NY

Oakland Museum of California, Oakland, CA

San Francisco Museum of Modern Art, San Francisco, CA

Seattle Art Museum, Seattle, WA

Security Pacific Bank Collection, Los Angeles, CA

Victoria and Albert Museum, London, England

Whitney Museum of American Art, New York, NY

Worcester Museum of Art, Worcester, MA

Yale University Art Gallery, New York