Black Glass (όνοπα πόντον), 2014,
installation view

#2 from left.jpg

Black Glass (όνοπα πόντον), 2014,
UV-curable ink print on laminate glass,
ink infused laminate, wood frame, 173 x 123 cm
#1 from left.jpg

Black Glass (όνοπα πόντον), 2014,
UV-curable ink print on laminated glass,
ink infused laminate, wood frame, 173 x 123 cm

Magnitude (roses/pinks), 2014
UV-curable ink on prepared linen,
acrylic latex, mdf support,
244 x 183 cm

Untitled (mirror), 2013,
ink on glass, 124 x 89 cm

Nude, 2011,
ink and UV radiation on cotton; acrylic latex on mdf support,
168 x 119 cm

Nude, 2011,
ink and UV radiation on cotton; acrylic latex on mdf support,
168 x 119 cm

Nude, 2011,
ink and UV radiation on cotton; acrylic latex on mdf support,
168 x 119 cm

installation view of Early Video, 2010

A Single Man/asm/1793, 2009,
acrylic paint, ink, pen ink and graphite on printed paper,
91.5 x 76 cm

A Single Man/asm/4808, 2009,
acrylic paint, ink, pen ink and graphite on printed paper,
91.5 x 76 cm

an aaliyah, 2006, installation view

The Canon Copiers, 2004, installation view

The Canon Copiers, 2004, installation view

only the beat of a tiring drum / ASP.53930, 2001, edition of 2,
colour photograph, 119 x 109 cm

nothing returns from Horizon, Ontario / ASP.45466, 2001, edition of 2,
colour photograph, 119 x 109 cm

Scott Lyall

Lyall is known for sculptural “settlements”: installation works that lay out relations between material, the gallery space, and his bodies of research to traverse different spatio-temporal dimensions and contexts.

My work combines effects of precise geometric calculation with a set of more spontaneously chosen art and design elements. References may be drawn from art history or celebrity cults, information culture, or political-economic abstraction. As such, no single concept guarantees the relationship of these elements, and no spectator is imagined to provide a definitive interpretation. The subject of the work retains an indiscernible status – naked exposure to, relief in, perpetuation of – the aleatory.

— Scott Lyall

Born in Toronto, Ontario
Queens University, Kingston
LL.B., University of Toronto, Toronto
M.F.A., California Institute of the Arts,

Selected Solo Exhibitions

Black Glass, Miguel Abreu Gallery, New York
Susan Hobbs Gallery, Toronto

   about the exhibition

Campoli Presti, London, New York
Indiscretion, Miguel Abreu Gallery, New York
Sittlichkeit* (roses/pinks), Silver Flag,
Nudes, Sutton Lane, Paris
Double Yolk, (with Rachel Harrison), Galerie
   Christian Nagel, Antwerp
An Immigrant Affection, Miguel Abreu
   Gallery, New York
Early Video, Susan Hobbs Gallery, Toronto

   about the exhibition

The Color Ball, The Power Plant, Toronto
simple agony, Sutton Lane, London
the little contemporaries, Sculpture Center,
   New York
a dancer dances, Miguel Abreu Gallery,
   New York
When Hangover Becomes Form
   (collaboration with Rachel Harrison),
   Contemporary Art Gallery, Vancouver;
   LACE, Los Angeles
an aaliyah, Susan Hobbs Gallery, Toronto
The Canon Copiers, Susan Hobbs Gallery,
OK!lahoma (8087/2000/2002), Art Gallery
   of York University, Toronto
Susan Hobbs Gallery, Toronto
Washington Square, GreeneNaftali Gallery,
   New York
GreeneNaftali Gallery, New York
John Good Gallery, New York

Selected Group Exhibitions

Signal Failure, Pace Gallery, London

Correspondences: Ad Reinhardt at 100, TEMP Art Space, New York

Galerie Perrotin, Paris
Anti-Establishment, Bard College,
   Annandale-on-Hudson, New York
Ghosts before Breakfast, White Flag Projects,
   St. Louis, Missouri
I think and that is all that I am,
   Thomas Duncan Gallery, Los Angeles
With One Colour, Van de Weghe Fine Art,
   New York
New York to London and Back, Thomas Dane
   Gallery, London
Hasta Manana, Greene Naftali Gallery,
   New York
Incisions in Space. Sculptural Collages,
   Museum Morsbroich, Leverkusen, Germany
Elements of Chance/La Tentation du Hasard,
   La Biennale de Montréal, Montréal
Collatéral, Le Confort Moderne, Poitiers,
The Lining of Forgetting, Austin Museum
   of Art, Austin, Texas
CODESHARE, Contemporary Art Centre,
   Vilnius, Lithuania
Lucky Number Seven, SITE Santa Fe,
   Santa Fe, New Mexico
The Lining of Forgetting, Weatherspoon Art
   Museum, Greensboro, North Carolina
Momentum, Susan Hobbs Gallery, Toronto
Massiv Analog Academy, Galerie
   Christian Nagel, Cologne
Form as Memory, Miguel Abreu Gallery,
   New York
For the People of Paris, Sutton Lane @
   Ghislaine Hussenot, Paris
We Can Do This Now, The Power Plant,
Hands Up/Hands Down, Miguel Abreu
   Gallery, New York
Yarns, Solomon Fine Art, Seattle
Psychotopes, YYZ Artist’s Outlet, Toronto
Mary Goldman Gallery, Los Angeles
Scott Lyall/Josh Blackwell, Goldman/Tevis,
   Los Angeles
Goldman/Tevis, Los Angeles
New York Projects, Delfina, London, England
Construction Drawings, KunstWerke, Berlin
Architecture! Architecture! Architecture!,
   Hunter College of the City of New York,
   New York
Construction Drawings, P.S.1, New York
EPLURALUSNIHIL, American Fine Arts Co.,
   New York
Copiacabana, Museo Extrameno de Arte
   Contemporaineo, Lisbon, Portugal
ReZone, Diverse Works Gallery, Houston
Club Berlin, Kunstshaft Site, Biennale de
   Venezia, Venice,Italy
The Los Angeles Thing, ICA, London,
   England; Glasgow College of Art,
   Glasgow, Scotland
Real, Post, Other, The Municipal Building,
   Los Angeles

Support Acts: Curating, Caring and Social Reproduction

by Helena Reckitt (article)

Journal of Curatorial Studies, Volume 5 Number 1 2016

Signal Failure: Pace/London

by Attilia Fattori Franchini (review)

Flash Art, August 2015

painting now

by Suzanne Hudson (book)

Thames & Hudson, 2015

Scott Lyall: Susan Hobbs Gallery

by Dagmara Genda (review)

esse, 17 December 2014

visit (www.esse.ca)

FrameWork 11/14

by Scott Lyall (essay)

Susan Hobbs Gallery, November 2014

read the full text (pdf)

Scott Lyall: Nudes 3

by Martin Herbert (review)

ArtReview, issue 56, January 2012

Liz Deschenes/Scott Lyall

by Mark Prince (review)

frieze, October 2011

read (pdf)

A Certain Idea of White

by Aude Launay (review)

O2, no. 59, Autumn 2011

read (pdf)

Artists on Ab Ex

by Scott Lyall

Artforum, Summer 2011

read (pdf)

Not a Single Point of View: Contemporary Sculpture and the Spatial Imaginary

by Johanna Burton (article)

in State of the Art: Contemporary Sculpture, Yale University Art Gallery Bulletin 2009; New Haven: Yale University Art Gallery, 2009

The Color Ball

by Greogory Burke, Caroline Busta, and Robert Linsley
(exhibition catalogue)

Toronto: The Power Plant, 2009

Critics’ Picks: “Collatéral”

by David Lewis (review)

Artforum.com, 11 August 2009

Scott Lyall, The Power Plant

by Dan Adler (review)

Artforum, January 2009

read (pdf)

FOCUS: Scott Lyall

by Jennifer Matotek (article)

SWITCH, Winter 2008/09

Allusive, elusive Scott Lyall

by David Jager (review)

NOW Magazine, 24 September - 1 October 2008

VoCA suggests…

by Andrea Carson (review)

viewoncanadianart.com, 29 August 2008

visit (viewoncanadianart.com)

SITE out of luck

by Doug Fairfield (review)

Santa Fe New Mexican, 31 July 2008

Come out and play

by Christie Chisholm

Alibi, 3-9 July 2008

SITE Santa Fe takes leap of faith

by Greg Helfand (review)

ARTINFO.com, 1 July 2008

visit (www.blouinartinfo.com)

Lucky Number Seven

by Lance Fung (exhibition catalogue)

Santa Fe, New Mexico: SITE Sante Fe, 2008

The idea of a bright tomorrow is so yesterday

by Sarah Milroy

The Globe and Mail, 20 September 2008

Dusseldorf Do

by Leah Sandals (review)

NOW Magazine, 17-24 July 2008

The Lining of Forgetting

by Sarah Cook, Xandra Eden, and John Roberts
(exhibition catalogue)

Greensboro, North Carolina: Weatherspoon Art Museum, 2008

Lecture Meant to Accompany the Consumption of a Multiple

by Scott Lyall (essay)

in Novel, Matt Williams and Alun Rowlands, eds.; Berlin/London: Anna-Catharina Gebbers Bibliothekswohnung/Hyphen Press, 2008

Welcome to New Mexico. Now create.

by Jori Finkel (article)

The New York Times, 27 January 2008

A meeting of art, power and the city

by Sarah Milroy (review)

The Globe and Mail, 10 January 2007

All Art is Contemporary Art

by Jerry Saltz (article)

Modern Painters, November 2006

Scott Lyall, a dancer dances

by Sarah Schmerler (review)

Time Out New York, 12-18 October 2006

Rachel Harrison and Scott Lyall: Contemporary Art Gallery

by Trevor Mahovsky (review)

Artforum, September 2006

Orchard Underground.

by Mary Rinebold (article)

artnet.com, 7 September 2006

Part of the package: Scott Lyall and Rachel Harrison remain true to themselves, but also accessorize each other, in their first collaboration, at LACE

by Christopher Miles (review)

Los Angeles Times, 14 August 2006

Stuck on you

by Charlotte Bonham-Carter (review)

ArtReview, June 2006

The High Concept No Concept Art Show

by Emily Elsa Hamilton (review)

Mass Art Guide, April 2006

When Hangover Becomes Form

by Dan Adler (exhibition essay)

Vancouver: Contemporary Art Gallery, 2006

Scott Lyall, Susan Hobbs Gallery

by Xandra Eden (review)

Canadian Art, Summer 2004

Scott Lyall: Susan Hobbs Gallery

by Dan Adler (review)

Zing Magazine, 2002

Scott Lyall OK!lahoma

by Dan Adler and Scott Lyall
(exhibition catalogue)

Toronto: Art Gallery of York University, 2002

Scott Lyall at Susan Hobbs

by Gary Michael Dault (review)

The Globe and Mail, 5 January 2002

Random Reason

by Deirdre Hanna (review)

NOW Magazine, 3-9 January 2002

Critics’ Choice

by Sarah Milroy (review)

The Globe and Mail, 15 December 2001

New York Projects

by EdgarSchmitz (review)

Kunstforum, November-December 2000

A Brooklyn Cheer for the British Art Scene

by Alison Roberts (review)

Evening Standard, 1 August 2000

Gallery Controlled Diet

by Neru Ratman (review)

The Face, August 2000

Scott Lyall, GreeneNaftali Gallery

by Adriano Pedrosa (review)

Artforum, Summer 1998

Scott Lyall, Greene Naftali Gallery

by David A. Greene (review)

Frieze, March-April 1998

Scott Lyall

by Sarah Schmerler (review)

Time Out New York, 22-29 January 1998

I Am Going Around the World…

by Kentaro Ichihiri (article)

BT, June 1996

Scott Lyall, GreeneNaftali Gallery

by Stuart Servertar (review)

New York Press, 28 February-5 March 1996

Artists Work to Redefine their Spaces

by Thomas Edwards (review)

Houston Post, 6 March 1995