Ian DAVENPORT
BIBLIOGRAPHY
Books and Exhibitions Catalogues
2004
Ian Davenport, Birmingham, Ikon Gallery, 2004.
2003
Ian Davenport, Edinburgh, Ingleby Gallery, 2003.
2000
Michael Bracewell, Ian Davenport's Paintings, London, Waddington Galleries, 2000.
1999
Jonathan Watkins, Ian Davenport Paintings, Dundee, Dundee Contemporary Arts, 1999.
1998
Sophie Symons, Ian Davenport, Paris, Galerie Xippas, 1998.
1996
Martin Maloney, Ian Davenport New Paintings, London, Waddington Galleries, 1996.
1993
Richard Shone, Ian Davenport, London, Waddington Galleries, 1993.
1992
Ian Davenport, Krefeld, Galerie Ludwig; Berlin, Galerie Michael Haas; Freiburg, Allemagne, Galerie Limmer, 1992.
1990
Norman Rosenthal, Ian Davenport, Londres, Waddington Galleries, 1990.
Books & Group Exhibitions Catalogues
2008
Tony Godfrey, Ian Davenport, Gallery Hakgojae, Seoul, Korea
Martin Herbert, Between the Lines, Gallery Hakgojae, Seoul, Korea
2006
Wilding, Alison (ed.) and Tom Phillips: Royal Academy Illustrated 2006, Royal Academy of Arts, London.
Monochromed, The Fine Art Society, Londron.
2004
Other Times: Contemporary British Art, City Gallery, Prague (in association with the British Council)
2003
Ben Tufnell, Ian Davenport, Days like these, Tate Triennal exhibition of contemporary art 2003, London, Tate Publishing, 2003, pp. 70 - 73.
2002
David Ryan, Andrew Wilson, Talking Painting. Dialogues with 12 Contemporary Abstract Painters', London and New York, Routledge, 2002, pp. 23-42.
Peintures - contrainte ou recette, Ecole des Beaux-Arts, Rennes, France, 2002.
2001
Norbert Lynton, Jerwood Painting Prize 2001, London, Jerwood Gallery, 2001.
Matthew Collings, British Abstract Painting 2001, London, Flowers East, 2001.
1999
Examining Pictures, London, Whitechapel Art Gallery, Chicago, Museum of Contemporary Art, Los Angeles, Armand Hammer Museum, 1999.
Bryan Robertson, A Line in Painting - Part One - British Art, London, Gallery Fine, 1999.
Richard Cork, John Moores 21 : exhibition of contemporary painting, Liverpool, Walker Art Centre, 1999.
1998
Sophie Symons, Elegant Austerity, London, Waddington Galleries, 1998.
1997
Jorge Mulder, Sanches Rui, Treasure Island, Lisbon, Calouste Gulbenkian Foundation, 1997, pp. 262 - 263.
1996
Enrique Juncosa, Arthur C. Danto, Demetrio Paparoni, nuevas abstracciones, Madrid, Museo Nacional Centro de Arte Reina Sofía, Barcelona, Museu d'Art Contemporani, 1996.
Arthur C. Danto, Enrique Juncosa, abstrakte Malerei heute/nuevas abstracciones, Kunsthalle Bielefeld, 1996.
Richard Shone, Ian Davenport, 50 Jahre Kunst- und Museumsverein Wuppertal, Germany, Kunsthalle Barmen, Wuppertal-Barmen, 1996.
Ian Davenport, Statements: Waddington Galleries, Art 27'96, Bâle, Swizerland, 1996.
David Elliott, About Vision: New British Painting in the 1990s, Museum of Modern Art, Oxford (including artist article).
Sally Bonn, L'Art en Angleterre 1945 - 1995, Paris, Nouvelles Editions Françaises, 1996.
1995
Andrew Wilson, From Here, London, Waddington Galleries and Karsten Schubert, 1995.
Michael Simpson, Northern Young Contemporaries, Manchester, Whitworth Art Gallery, 1995.
Brian Muller, Real Art - A New Modernism: British Reflexive Painters in the 1990s, Southampton City Art Gallery, 1995.
Adrian Searle, New Voices, The British Council, 1995.
1994
Bryan Robertson, British Abstract Art Part 1: Painting, London, Flowers East, 1994.
1993
Gill Hedley, Brett Rogers, New Voices - British Painting: A Selection 1989-1992/ Noves Veus - Pintura britanic: Una seleccio 1989-1992(catalogue: Anglais/Catalan, traduce from Catalan), The British Council, 1993.
1992
New Voices: New Works for the British Council Collection, The British Council, 1992.
1991-92
Confrontaciones, Arte ultimo britanico y espanol, Madrid, Instituto de la Juventud, 1991 - 92.
1991
Metropolis, Berlin, Martin-Gropius Bau, 1991.
1990
Rainer Crone, David Moos, Painting Alone, New York, Pace Gallery, 1990.
Ian Davenport, Notes on Painting, The British Art Show 1990, London, South Bank Centre, 1990.
1988
Ian Jeffrey, Platonic Tropics, Freeze, London Surrey Docks, 1988.
Articles and Reviews
2008
Helen Sumpter, ‘In the studio: Ian Davenport’, Timeout, February 13-19, p. 64
2007-2008
Ben Luke, 'In the Studio: Ian Davenport Thinking Big', Art World, Dec/Jan, pp. 136-141
2007
Thomas L. Friedman, 'The Power of Green', The New York Times Magazine, 15 Avril, pp. 40-51, 61 & 71.
2006
'Art installation to brighten Southwark Street railway bridge', londonse1 community website, January 12.
Paul Arendt, ‘Brainwaves: Syringe Art’, G2, The Guardian, March 2.
Sardo, Delfim (editor), Pintura Redux Desenvolvimentos na Última Década, Colecção de Arte Contemporãnea Público Serralves, Portugal.
Serena Davies, 'Dance to the music of lines', The Telegraph, 'Arts', August 19, p. 6.
BBC London Ten O'Clock News, September 5.
Paul McCann, 'Strip club', Wallpaper, september, pp. 122-123
2005
Robert-Jan Muller, ‘Ian Davenport: Orkestreren’, Kunstbeeld, 04, pp. 14-17
2004
‘Davenport’, Concept for Living, November, pp. 29-29
Sharlene Tan, ‘When he pours he paints’, Streats, June 9th, p. 28
Terry Grimley ‘Get in line to view new art’, The Birmingham Post, April 19th
2003
Charlotte Mullins ‘From Bee Gees to Brushstrokes’, The Financial Times, November 18th
Jane Campbell, ’50 best tips for investing in art’, The Independent, October 25th, pp.4-11
Moira Jeffrey, ‘Painter is really pouring it on’, The Herald, November 21st
Joanna Pitman, 'Bible Lessons', The Times, July 22nd, T2, p.19
Sue Hubbard, 'The sands of time', The Independent Review, July 22nd, pp.14-15
Andrew Mead, 'Double vision', The Architect's Journal, July 17th, p.51
Sarah Kent, ‘Ian Davenport’, Time Out, July 16th, p.55
Adrian Searle, 'Lost in space', The Guardian, July 15th, pp.12-13
Jim Healy, ‘Mirror opposites’, What’s on in London, July 9th, p.23
Robert MacFarlane, ‘Peaks of Faith’, Times Literary Supplement, July 7th
Charles Darwent, ‘It’s not as easy as it looks’, Independent on Sunday, July 6th, p.10
Exodus review, Contemporary, issue 53/54, July/August, p.32
Craig Burnett, ‘Previews, Austen in the Desert’, Modern Painters, Summer, p127
Robert Clark, ‘Exodus’, The Guide, June 21st, p.34
Exodus review, Pluk, June, p18
Martin Herbert, 'Days Like These: Tate Triennial of Contemporary British Art 2003', Art Monthly, no.265, April, pp.22-23
Tom Morton, 'Days Like These', Tate, March/April, pp.74-77
Ned Denny, ‘Variety show’, new statesman, March 17th
Christopher Hirst, ‘The Weasel’, The Independent, March 15th
‘Exhibition of the week: Days Like These’, The Week, March 8th
Laura Cumming, ‘British bullseye’, The Observer Review, March 2nd
‘Days Like These: Contemporary British Art 2003’, Londinium, March/April
Keith Patrick, ‘Tate Triennal: Days Like These’, Contemporary, issue 50, pp.80-81
Jessica Lack, 'Promised land', RA Magazine, Summer, p.26
2002
Ryan, David (intro.) and Andrew Wilson (essay): Talking Painting. Dialogues with 12 Contemporary Abstract Painters, Routledge, London and New York, pp.23-42
Schwabsky, Barry (intro.): Vitamin P: New Perspectives in Painting, Phaidon Press, London and New York.
2001
"Artistes et galeries à travers le monde", Le journal des Arts, March 30 - April 12, 2001, p. 12.
"Ian Davenport", Vogue Paris, April 2001, p. 50.
Charles Darwent,: "Art Review 2001 Jerwood painting prize", Metro, May 4th, 2001.
"May Calendar", Art Review, may 2001, p. 26.
Stephen Palmer, "Painting prize shortlisted", a-n Magazine for Artists, May 2001.
Matthew Collings, "Many Marvels", Modern Painters, May 2001, p. 75.
Virginia Boston, "Paints & Brushes First", Artists & Illustrators, July 2001, p. 62.
2000
Samantha Ellis, "Ian's an arc angel", Evening Standard, Going Out, January 26th, 2000, p. 55.
Jonathan Jones, "Ian Davenport", The Guardian, The Guide, Pick of the day, January 27th, 2000, p. 19.
Izi Glover, "Ian Davenport", Time Out Magazine, February 9 - 16, 2000.
"Ian Davenport at Waddington Galleries", Londonart.co.uk.magazine, February 23rd, 2000 (website).
Louisa Buck, "Our choices of London contemporary galleries", The Art Newspaper, no. 100, February 2000, p. 66.
David Lee, "Artbollocks", ArtReview, February 2000, p. 15.
Richard Shone, "London: Davenport, Maloney, Psycho", Burlington Magazine, April 2000, p. 248.
Meite Sandbye,: "Fascinatin Af Farver", Weekenddavisen, July 1st, 2000.
Tom Jorgensen,: "Intere Nyt Under Solen", Ekstra Bladet, July 20, 2000.
Peter M. Hornung, "Mellen renhed og intethed", LordagI, July 8, 2000.
"Artistic Genre Bending Near Nyhavn", The Copenhagen Post, The Week, July 7-13, 2000.
Neal Brown, "Doorways to Heaven", Art Review, November 2000,
pp. 50 - 51.
Robert Clark, "Ian Davenport", The Guardian (reviews), November 16th, 2000.
Robert Clark, "Ian Davenport", The Guardian, The Guide, November 11th, 2000.
Michael Bracewell, "I am very good at pouring painting", Independent on Sunday, December 10th, 2000.
Martin Holman, "The result always surprise me : Ian Davenport"s paintings", London Magazine, Vol. 40, no.'s 9 & 10, December - January 2001, pp. 63 - 69.
1999
Anna Moszynska, "Jackson Pollock Revisited", Contemporary Visual Arts, issue 22, 1999, pp. 46 - 53.
"Painters on Pollock", Tate: The Art Magazine, issue 17, Spring 1999, pp. 32 - 33 (including an artist statement).
Elisabeth Mahoney, "Good enough to eat", Scotlet on Sunday, May 23rd, 1999, p. 9.
Waldemar Januszczak, "Picture this", The Sunday Times, May 23rd, 1999.
Duncan Macmillan, "Let it pour", The Scotsman, June 2nd, 1999, p. 19.
Elisabeth Mahoney, "Ian Davenport", Art Monthly, June 1999, p. 38.
Moira Jeffrey, "Magic and gloss", The List, May 13 - 27, 1999, p. 72.
Helen Brown, "Ideas in the abstract", The Courier, June 4th, 1999.
Marc Holthof, "Kunst in Knokke", Knack Magazine, September 4 - 11th, 1999, p. 16.
Luk Lambrecht, "Kunst in Knokke", De Morgen, September 1999.
1998 Kam Patel, "Brit Art"s foundation figure", The Times Higher, February 6th, 1998, pp. 18 - 19.
Augusto Pieroni, "Ian Davenport: Galleria Moncada, Roma", Tema Celeste, March 1998.
The Courier & Advertiser, Dundee, August 22nd, 1998.
Cléan Polinaires, "Davenport: La Maîtrise du Hasard", Beaux-Arts no. 172, September 1998, p. 26.
1997
Etrew Lambirth, "Fashion parade", The Spectator, January 4th, 1997, pp. 40 - 41.
"A brush with genius: Ian Davenport on Claude Monet"s Water-Lilies", The Guardian, January 14th, 1997, p. 13.
Roger Bevan, "Babes in arms: Forty under Forty", The Art Newspaper, no. 67, February 1997, pp. 23 - 26.
Richard Shone, "Oxford: About Vision", The Burlington Magazine, March 1997, pp. 208 - 209.
Joëlle Rondi, "About Vision", Art Press, no. 222, March 1997, pp. 64 - 65.
Renate Roos, "Spiel mit der Farbe in Raum und Zeit", Kölner Stadt-Anzeiger, no. 72, March 1997, p. 12.
Margarete Hucht, "Bilder, in denen man sich spiegeln kann", Kölner Kultur,
April 1997.
Duncan MacMillan, "Too tight a corner for painting", The Scotsman, April 1997.
David Cohen, "Painting in London: through thick and thin", ArtNet (http://www.artnet.com/magazine/features/cohen/cohen5-5-97.html), 1997.
M.Z, "Ian Davenport: Valentina Moncada", Anno, XIII, no. 40-41, fall 1997.
Arianna Di Genova, "Ian Davenport", Il Manifesto (Rome), November 1997.
Augusto Pieroni, "Intervista a Ian Davenport", Artel, No. 72,
November 16 - 30th, 1997.
Eva Thau, "Davenport e la monocromia", Time Out (édition italienne), November 1997.
Keith Patrick, "Editorial", Contemporary Visual Arts(special focus: the condition of painting), issue 15, 1997, pp. 13 - 15.
Matthew Collings, " Blimey !", 21 Publishing, Cambridge, 1997.
Virginia Button, The Turner Prize, Tate Gallery Publishing, London, 1997.
1996
Martin Maloney, "Southampton and London: Current abstract painters", The Burlington Magazine, January 1996, pp. 45 - 46.
O.R., "Ian Davenport", Technikart, no. 4, April - May 1996, p. 56.
Ralf Stiftel, "Die Schönheit kehrt zurück", Westfälischer Anzeiger, Germany, July 26, 1996.
Heidi Wiese, "Schönheit ist wieder erlaubt", Westfalen-Blatt, Germany, July 26, 1996.
Stefan Lüddemann, "Kühle Bildstrategien", Neue Osnabrücker Zeitung, Germany, July 27th, 1996.
Manfred Strecker, "Unbeschwert malen", Neue Westfälische, Germany,
July 27, 1996.
"Bielefelder Kunsthalle ist ein Leuchtturm der Region", Westfalen-Blatt, Germany), July 29th, 1996.
Michael-Georg Müller, "Geschüttelte Farben und grosse Formate", Westfälische Rundschau, Germany, August 2nd, 1996.
Veit-Mario Thiede, "An rosa Schokolade glauben", Trierischer Volksfreund, Germany, August 10 - 11th, 1996.
"Around the galleries: Still room for a thin line", The Times, September 17th, 1996.
Martin Coomer, "Ian Davenport: Waddington/Ridinghouse Editions", Time Out, October 2 - 9th, 1996.
Martin Maloney, "On Process Art: Mono 2000", Artforum,vol. XXXV, no. 2, October 1996, pp. 36 - 37.
Etrew Wilson, "Ian Davenport", Art Monthly, no. 200, October 1996,
pp. 55 - 57.
Edward Lucie-Smith, "Critic"s Diary", Art Review, November 1996, p. 18.
William Packer, "A talent for the derivative", The Financial Times, November 12, 1996.
William Feaver, "Crooked Style", The Observer, November 17th, 1996.
Etrew Graham-Dixon, "On the surface", The Independent, November 19th, 1996, pp. 4 - 5;
Richard Cork, "Paint your betwagon", The Times, December 31st, 1996.
Etrew Wilson, "The Vision Thing", Art Monthly, no. 202, December 1996 -January 1997, pp. 7 - 9.
Gavin Robson, Ace! Arts Council Collection new purchases(exhibition broadsheet), South Bank Centre, London 1996.
1995
Adrian Searle, "Any colour you like as long as it"s a joke", The Independent, April 4th, 1995.
Tim Hilton, "Fate, hopelessness, little clarity", The Independent on Sunday, April 9th, 1995.
William Feaver, "From the sublime to the ridiculous", The Observer, April 9th, 1995.
Martin Gayford, "The medium that refused to die", The Daily Telegraph, April 12, 1995.
Martin Coomer, "From Here", Time Out, April 19 - 26th, 1995.
Michael Aecher, "Licensed to Paint", Art Monthly, no. 186, May 1995,
pp. 8-10.
Brian Muller, "Real Art - A New Modernism: British Reflexive Painters in the Nineties", Art Press, no. 202, May 1995, pp. 51 - 55.
"Degrees of Importance", Art review, June 1995, p. 24.
Martin Maloney, "London: Current British art", The Burlington Magazine, no. 1007, vol. CXXXVII, June 1995, pp. 405 - 7.
Kevin Jackson, "the colours of money", Arena, July - August 1995, pp. 64 - 68;
Etrew Wilson, "Breaking Content from Form", Art and Design: British Art - Defining the 90s, Academy Editions, London,1995, pp. 7 - 19.
1994
Olga Spiegel, "New British Painting at the Centre d"Art S. Monica", La Vanguardia, March 19th, 1994.
Enrique Juncosa, "New Voices British Painting 1989 - 1992", El Pais, April 3rd, 1994.
Marga R San-Millan, "Arte vanguardista, libre de complejos", El Mundo del Pais Vasco, May 4th, 1994.
Wade Wilson, "A linear perspective with pared-down parameters", Fort Worth Star - Telegram, June 5th, 1994.
Janet Kutner, "Deep tones in a narrow range", The Dallas Morning News, June 18th, 1994.
James Hall, "Abstracted Brits", The Guardian, August 8th, 1994.
Adrian Searle, "Hi-ho, hi-ho, off to work they go", The Independent, August 13 - 16, 1994.
Tim Hilton, "A brush with the unexpected", The Independent on Sunday, August 14th, 1994, p. 21.
Giles Auty, "Hermetic Society", The Spectator, August 20th, 1994, p. 38.
Martin Gayford, "Only the descriptive details have been left out", The Sunday Telegraph, August 28th, 1994.
William Packer, "Abstract virtues", The Financial Times, August 30th 1994.
Clifford Myerson, "On Painting I", Art Monthly, no. 179, September 1994, pp. 13 - 16.
Brian Muller, "On Painting II", Art Monthly, no. 179, September 1994, pp. 18 - 20.
Simon Corbin, "British Abstraction - Flowers East Gallery", What"s On In London, September 7th, 1994.
Brian Muller, "A Real Art, New Modernism, British Reflexive Painters in the 1990"s", Art Line Magazine, vol. 6, no. 2, 1994, pp. 36 - 43.
1993
Kate Bernard, "Tempera fugit", Harpers & Queen, March 1993, pp. 150 - 53, 154.
Colin Gleadell, "Art Markand: Degrees of Exposure", Galleries, vol. XI, no. 1, June 1993, p. 20.
Roger Bevan, "London: Dealers & Galleries", The Art Newspaper, June 1993, p. 34.
David Lillington, "Dulux dogged", Time Out, June 16 - 23th, 1993.
Martin Gayford, "Gallery Round-Up", The Daily Telegraph, June 23th, 1993.
William Packer, "Master pourer of thick paint", The Financial Times, June 29th, 1993, p. 13.
Giles Auty, "Paint"s potential", The Spectator, July 3rd, 1993.
Charles Hall, "No Head for Figures", Art Review, July - August 1993, pp. 32 - 35.
1992
"In den Farbfeldern versunken", Westdeutsche Zeitung, Germany, February 18th, 1993.
H.A.N., "Archaische, fast spröde Abstraktionen", Rheinische Post, Germany, February 27th, 1992.
Klaus U. Reinke, "Galerien: Abstrakte Malerei und conceptuelle Skulptur", Hetelsblatt, Germany, March 17th, 1993.
Steven Henry Madoff, "A New Lost Generation", ARTnews, vol. 9, no. 4, April 1992 , pp. 72 - 77.
Hollet Cotter, "Ian Davenport at Paul Kasmin", The New York Times, June 12th, 1992.
Thea Figee, "Stomme" schilderkunst bewijst dat schilderen nog leeft", Utrechts Nieuwsblad, July 20th, 1992.
Els Hoek, "Het domme schilderij is zwart, of anarchistisch of schildert zichzelf", De Volkskrant, July 20th, 1992.
Mark Peeters, "Domme Kunst" luidt tijd in van nieuwe abstracties", NRC Hetelsblad, July 24th, 1992.
Ljsbret Van Veelen, "Gezapigheid is verward met verstilling en poëzie", Parool, August 13th, 1992.
Barry Schwabsky, "Ian Davenport at Paul Kasmin", Tema Celeste, no. 37, fall 1992.
Robert-Jan Muller, "Dumb painting" in het Centraal Museum", Archis, September 1992, p. 5.
Hearne Pardee, "Davenport at Paul Kasmin", ARTnews, vol. 91, no. 89, October 1992.
Leo Burley, "Loser takes it all", The Independent, November 3rd, 1992.
James Hall, "The Year of the Shark", ARTnews, vol. 91, no. 10, December 1992, pp. 72-73.
1991
William Feaver, "Ian Davenport: Waddington", ARTnews, January 1992, p. 170.
Etrew Renton, "Ian Davenport - Waddington", Flash Art International, vol. XXIV, no. 156, January - February 1991, p. 137.
InterAlia (Dave Beec, Mark Hutchinson), "Ian Davenport at Waddington Galleries", Artscribe, no. 85, January - February 1991, pp. 75 - 76.
Jane Rankin-Reid, "Painting Alone", Artscribe, no. 85, January - February 1991, pp. 85 - 86.
David Lillington, "Ik doe steeds minder en de verf steeds meer", Metropolis M, no. 1, February 1991, pp. 45 - 47.
James Hall, "London: Artists Explore the Nature of Power", Art International, spring - fall 1991, p. 71.
Etrew Graham-Dixon, "Ian Davenport"s supremely simple paintings are masterpieces of Surface Tension", Vogue, April 1991, pp. 204 - 207.
Adrian Dannatt, "Big lights, bright city", The Times Saturday Review, April 13th, 1991.
Liam Gillick, "The Placebo Effect: Some Art in Britain", Arts Magazine, May 1991, pp. 56 - 59.
Richard Shone, "Profile: Young, gifted and painting it black", The Times Saturday Review, May 4th, 1991, p. 18.
Richard Dorment, "A prize turnabout", The Daily Telegraph, July 16th, 1991, p. 14.
Ian Gale, Alberge Dalya, "Youth and beauty?", The Independent, July 16th, 1991, p. 17.
James Hall, "Pure Gold(smiths")", New Statesman & Society, August 2nd, 1991, pp. 50 - 51.
Giles Auty, "Breath of Ayr", The Spectator, August 3rd, 1991, p. 37.
Bruce Bernard, "Salvage from the Wreck", The Independent Magazine, August 3rd, 1991, pp. 36 - 39.
William Packer, "The diminishing value of novelty", The Financial Times, August 6th, 1991.
Charles Hall, "Tests of raw nerves", The Sunday Times, August 11th, 1991.
Tim Hilton, "Composition with old hat", The Guardian, August 14th, 1991, p. 30.
Sarah Kent, "Breaking Ground", Time Out, August 14th, 1991.
Matthew Collings, "ART reviews", City Limits, August 15th, 1991, p. 18.
Setra Barwick, "No no no! said the general public", The Independent, August 24th, 1991.
Jon Stock, "Acclaim for the Class of "88", The Daily Telegraph, August 29th, 1991, p. 15.
Interview with Ian Davenport from article "Abstract Art Now: The European Situation", The Journal of Art, vol. 4, no. 7, September 1991, p. 26.
Sean Rainbird, "Ian Davenport", The Turner Prize 1991 (broadsheet), Tate Gallery, London, 1991.
Stuart Morgan, "The Turner Prize.this year"s shortlist, its past failings and future alternatives", Frieze, vol. 1, October - November 1991, pp. 4 - 7.
Stuart Morgan, "Ian Davenport", Frieze, vol. 1, October - November 1991,p. 7.
Roger Bevan, "Controversy over the Turner Prize short-list", The Art Newspaper, no. 12, November 1991.
Roger Bevan, "The Turner Prize", Galleries, vol. IX, no. 6, November 1991.
William Feaver, "Notices. The Prize Fight", Vogue, November 1, 1991.
David Cohen, "A new generation driven beyond abstraction", The Times Saturday Review, November 2nd, 1991, pp. 14 - 15.
Richard Cork, "Give the prize to Kapoor", The Times Saturday Review, November 2nd, 1991, pp. 15,17.
Brian Sewell, "Mockery nook", The Evening Standard, November 7th, 1991, p. 30.
Richard Cork, "Young, gifted and rising too fast", The Times, November 8th, 1991, p. 14.
Sarah Kent, "Prize Fighters", Time Out, November 13 - 20, 1991.
Giles Auty, "The Cringe before the binge", The Spectator, November 16th, 1991, pp. 57 - 58.
James Hall, "New kids on the block", New Statesman and Society, November 22nd, 1991, pp. 36 - 37.
John McEwen, The Sunday Telegraph, November 24th, 1991, p. 13.
Daniel Farson, "Trendies set in concrete", The Mail on Sunday, November 24th, 1991, p. 41.
Brian Sewell, "Suspicion and distrust step into the picture", The Daily Telegraph, November 26th, 1991.
Wlliam Packer, "The changing expectations of the Turner Prize", The Financial Times, Novembre 26th, 1991.
Tim Hilton, "The £20,000 game of charades", The Guardian, November 26th, 1991.
Etrew Graham-Dixon, "Je m'accuse", The Independent, November 26th, 1991.
Rory Knight Bruce, "Lashings of champagne and streams of consciousness", The Evening Standard, November 27th, 1991.
Brian Sewell, "Brian Sewell assesses the Turner Prize finalists", The Evening Standard, November 27th, 1991, p. 19.
David Lister, "Art prize launched into illusory space", The Independent, November 27th, 1991, p. 6.
Robin Dutt, "Glittering prizes and endless compromises", What"s On In London, November 27th, 1991, p. 19.
Charles Hall, "Turner Prize 1991", Arts Review, vol. XVLIII, no. 24, November 29th, 1991.
Christopher Etreae, "Art Prizes: Outdated idea or Useful Tool?", The Christian Science Monitor, December 1991.
Dominic Van den Boogerd, David Lillington: "Cool, clean and clever", Metropolis M, no. 6, December 1991, pp. 40 - 43.
Ian Jeffrey, "Hot Properties", London Magazine, vol. 31, no.'s 9 & 10, December - January 1992, pp. 117 - 120.
William Packer, "Just So: The Turner Prize", Modern Painters, vol. 4, no. 4, winter 1991, p. 9.
Etrew Graham-Dixon, Broken English (broadsheet), Serpentine Gallery, London, 1991.
Etrew Renton, Liam Gillick (ed.): Technique Anglaise: Current Trends in British Art, Thames and Hudson, One-Off Press, London, 1991.
1990
Etrew Graham-Dixon, "Pupils of the cool school", The Independent, January 30th, 1990.
Tim Hilton, "Home groan", The Guardian, January 31st, 1990.
Liam Gillick, "Ian Davenport", Artscribe, no. 80, March - April 1991, p. 57.
Kate Bush, "The British Art Show 1990, McLellan Galleries", Artscribe, no. 81, May 1990, p. 71.
Miranda Carter, "The Tote Gallery", Harpers & Queen, August 1990, pp. 96 - 99.
Roger Bevan, "Ian Davenport", Galleries, October 1990, p. 22.
Etrew Graham-Dixon, "Leaving a mark", The Independent, October 9th, 1990.
Sarah Kent, "Ian Davenport - Waddington"s", Time Out, October 10 - 17th, 1990, p. 39.
Rose Jennings, "Ian Davenport - Waddington"s", City Limits, October 11 - 18th, 1990.
William Feaver, "Hear hear, O Israel", The Observer, October 14th, 1990.
Alistair Hicks, "New star"s course seems all too predictable", The Times, October 19th, 1990.
Mary Rose Beaumont, "Ian Davenport - Waddington Galleries", Arts Review, October 19th, 1990, pp. 560 - 561.
Giles Auty, "Capricious climates", The Spectator, October 20th, 1990.
Joseph Williams, "Creative accountancy", The Times, October 23rd, 1990.
John Cornall, "Minimal Realism in The British Art Show 1990", London Magazine, , vol. 30, no.'s 7 & 8, October - November 1990, pp. 122 - 126.
Richard Shone, "London, Davenport at Waddington", The Burlington Magazine, vol. CXXXII, no. 1052, November 1990, pp. 804 - 5.
Enrique Juncosa, "Ian Davenport", Lapiz, Issue no. 72, November 1990, p. 73.
Shirley Kaneda, "Painting Alone", Arts Magazine, vol. 65, no. 4, December 1990, p. 84.
Roger Bevan, "Abstract", Antique and New Art, winter 1990, pp. 138 - 139.
1989
Richard Shone, "Ian Davenport, Gary Hume, Michael Lety", The Burlington Magazine, vol. CXXXI, no. 1030, January 1989, p. 56.
Michael Archer, "Ian Davenport, Gary Hume, Michael Lety at Karsten Schubert Gallery", Artforum, vol.XXVII, no. 6, February 1989, p. 147.
Angela Bulloch, "Freeze", Art & Design, vol. 5, no. 3/4, 1989, pp. 52 - 53.
"British Artists Under 40", Art & Design, vol. 5, no. 3/4, 1989, p. 83.
1988
Richard Shone, "London Summer Exhibitions", The Burlington Magazine, vol. CXXX, no. 1025, August 1988, p. 646.
Sacha Craddock, "The fast Docklet track to simplicity", The Guardian, September 13th, 1988.