Education
1964
Harvard College, A.B. (1965) in Fine Arts; specialization in the history of 19th and 20th century art.

1965
University of Southern California; work toward M.A. in Cinema.

1966
University of California, Los Angeles; work toward M.F.A. in Motion Picture Division, Department of Theater Arts.

Solo Exhibitions
(films shown as a body of work except when individual titles are given)

2005
“Standard Gauge: Film Works by Morgan Fisher”, Whitney Museum of American Art, New York
“Edge and Corner paintings”, Adamski, gallery for contemporary art, Aachen, Germany
The Films by Morgan Fisher, Tate Modern, London China Art Objects Galleries, Los Angeles

2004
Galerie Daniel Buchholz, Cologne; ( ) (film), paintings on paper
Städelschule, Frankfurt; ( ), lecture, San Francisco Cinematheque; films and lecture
Cubitt, London; ( )
Pacific Film Archive, Berkeley, California; films
Filmforum, Los Angeles, California; films
Greene Naftali, New York; wall objects, ( )

2002
“To See Seeing,” Neuer Aachener Kunstverein, Aachen (catalogue in preparation); paintings, drawings, films
China Art Objects Galleries, Los Angeles; paintings, painting installations
Pacific Title and Art Studio, Hollywood; presented by China Art Objects Galleries; films
Galerie Daniel Buchholz, Cologne; Color Balance, reconstruction in 16mm of a film installation made in 1980 (see below), drawings

2000
Kunstverein in Hamburg, Hamburg, Germany; films, film installation
“The Italian Paintings,” presented by Dave Muller/Three Day Weekend, in “Made in California: Now,” Los Angeles County Museum of Art; paintings

1998
Künstlerhaus Stuttgart (co-sponsored by Stuttgart Filmwinter); one-week residency; lecture, films
Merz Akademie, Stuttgart; films
Galerie Daniel Buchholz, Cologne; presented at the British Council; films
Städel Schule, Frankfurt; films
Austrian Film Museum, Vienna; films

1997
Visiting artist, Otis College of Art and Design, Los Angeles; films
Visiting artist, Art Center College of Design, Pasadena, California; films
Visiting artist, School of Film/Video, California Institute of the Arts; films

1996
Visiting artist, Art Department, University of California at Riverside; films
Visiting artist, Occidental College, Los Angeles; films

1995
Visiting artist, Art Program, School of Art, California Institute of the Arts; films

1992
Visiting artist, Art Center College of Design, Pasadena; films

1989
University of Rochester, in the series “The New Avant-Garde”;films

1986
International Forum of Young Cinema, Berlin International Film Festival; films
University Gallery of Fine Art, Ohio State University; films
Visiting artist, Art Center College of Design, Pasadena; films

1985
The Collective for Living Cinema, New York; films
San Francisco Cinematheque; films
Pacific Film Archive, Berkeley; films

1980
Philadelphia College of Art; films

1979
Boston Film/Video Foundation; films
Visiting artist, Art Program, School of Art, California Institute of the Arts; films
Department of Photography and Film, Ohio State University; films

1978
Contemporary Art Survey (lecture series), Art Department, UCLA; films
Visiting artist, College of Creative Studies, University of California at Santa Barbara; films
Department of Visual Arts, University of California at San Diego; films
Collective for Living Cinema; films

1977
Otis Art Institute, Los Angeles; films

1976
Museum of Art, Carnegie Institute, Pittsburgh; films
Albright-Knox Art Gallery, Buffalo; films
San Francisco Museum of Art; films
Anthology Film Archives, New York; films
Museum of Modern Art, New York; films

1975
Pacific Film Archive; films
San Francisco Art Institute; films
Vancouver Art Gallery, in the series “The Very Eye of Light; A Primer in the Experimental Film,” Pacific Cinematheque in collaboration with the Vancouver Art Gallery, Vancouver, British Columbia; films
Canyon Cinematheque, San Francisco; films

1974
Pratt Institute, Brooklyn; films

1973
Millennium Film Workshop, New York; films
School of the Art Institute, Chicago; films
Independent Film Festival, National Film Theater, London; films

1972
Film Section, Massachusetts Institute of Technology; films

1970
Department of Theater Arts, UCLA; films,

Group Exhibitions
(films noted by title when not shown as a group)

2006 “Los Angeles, 1955 - 1985”, Centre Pompidou, France (Catalogue)

2004
Rotterdam International Film Festival; ( )
International Forum of Young Cinema, Berlin International Film Festival; ( )
Biennial Exhibition, Whitney Museum of American Art, New York (catalogue); ( )
The Flaherty Seminar; ( ), Standard Gauge (guest of the Seminar)
Toronto International Film Festival, ( )
Athens International Film Festival, ( )
London International Film Fetival, ( )

2003
“Sandwiched,” Los Angeles (publication); curated by Jacob Fabricius; sandwich boards designed and fabricated by the artists; the curator stood on a street corner wearing each sandwich board for two days
“Morgan Fisher/Mason Cooley,” China Art Objects Galleries; works on paper
“Fate of Alien Modes,” Secession, Vienna (catalogue); curated by Constanze Ruhm; Standard Gauge, Production Stills, drawings
New York Film Festival, “Views from the Avant-Garde”; ( )

2002
“Startkapital,” Ständehaus (K21), Kunstsammlung Nordrhein-Westfalen, Düsseldorf (catalogue); paintings
“A Show That Will Show That a Show Is Not Only a Show,” The Project, Los Angeles (catalogue); curated by Jens Hoffman; The Wilkinson Household Fire Alarm, Picture and Sound Rushes, Cue Rolls, Standard Gauge
“Richard Hawkins & Tomma Abts, Lecia Dole-Recio, Morgan Fisher, James Hayward,” Galerie Daniel Buchholz, Cologne; paintings

2001
“Two Film Screenings Organized by Christopher Williams (Poster, Introductory Remarks and Film Screening) For the Exhibition, ‘In Between Art and Architecture,’” Silver Screen Theater, Pacific Design Center/MAK Center for Art and Architecture, Los Angeles; Picture and Sound Rushes, Projection Instructions
“Frances Stark Meets Morgan Fisher,” Klosterfelde, Berlin; Standard Gauge

2000
“Not Coming,” Laemmle Grande Theaters, Los Angeles, produced by Side Street Projects (collaboration with JP Munro, D’Ette Nogle, Ramona Trent); sequence of 35mm slide projections
Galerie Jürgen Becker, Hamburg; curated by Daniel Buchholz and Christopher Müller (Galerie Daniel Buchholz, Cologne); paintings

1999
“Thanks,” visiting faculty show, School of Art, California Institute of the Arts; paintings on paper
“Afterimage: Drawing Through Process,” Museum of Contemporary Art, Los Angeles; Production Stills
“A History of European Cinema through Technical Evolution,” Festival dei Popoli, Florence, Italy; Standard Gauge
“The American Century: Art and Culture 1950–2000; The Cool World: Film and Video in America 1950-2000,” Whitney Museum of American Art, New York; Production Stills, Standard Gauge

1998
“Time Dilates,” Dave Muller/Three Day Weekend, The Downtown Arts Festival, New York; paintings on paper

1997
“Threshold,” Side Street Projects, Santa Monica; a show of short texts in response to photographs of public spaces of travel; took part as a writer

1996
“Projections,” AMC Old Pasadena 8 Theaters, Pasadena, California (catalogue); produced by Side Street Projects; single 35mm slide projection

1995
Inaugural Film Screening, ACME. Gallery, Santa Monica; Standard Gauge
“Reconsidering the Object of Art: 1965–1975,” The Museum of Contemporary Art, Los Angeles (catalogue); Screening Room, Production Stills, Picture and Sound Rushes, Cue Rolls, works on paper

1994
“Scratching the Belly of the Beast; Cutting-Edge Media in Los Angeles, 1922- 1994,” Filmforum, Los Angeles (catalogue); Projection Instructions, Standard Gauge
“Detours,” Side Street Projects, Santa Monica; painting installation
Color This!, Foundation for Art Resources, Los Angeles, 1994; coloring book of drawings by Los Angeles artists

1993
“Fade to Black,” Eldorado Centrum voor Beeldcultuur, Antwerp; Projection Instructions
Robert Flaherty Seminar, Ithaca, New York; Production Stills, Standard Gauge
Stichting Amsterdams Filmhuis, Amsterdam; Projection Instructions

1991
Faculty show, School of Art, California Institute of the Arts; installation with paintings and objects

1990
Mostra internazionale del nuovo cinema, Pesaro, Italy, a retrospective of American independent films of the 1980s; Standard Gauge
“Beyond Illusion: American Film and Video Art, 1965-1975,” in conjunction with “The New Sculpture, 1965-1975: Between Geometry and Gesture,” Whitney Museum of American Art; catalogue essay by John G. Hanhardt, Curator of Film and Video; Production Stills, Cue Rolls
“Metamedia,” in conjunction with “Image World: Art and Media Culture,” Whitney Museum of American Art; catalogue essay by John G. Hanhardt, Curator of Film and Video; Cue Rolls, Projection Instructions, Standard Gauge

1989
“What’s Wrong with These Pictures?,” retrospective (shared with George Landow), The American Museum of the Moving Image, New York; films

1988
“mot:dites,image,” Musée Nationale d’Art Moderne, Centre Pompidou, Paris (catalogue); Projection Instructions

1987
“Text as Image,” Pacific Film Archive; Projection Instructions

1985
Biennial Exhibition, Whitney Museum of American Art, New York (catalogue); Standard Gauge
New York Film Festival; Standard Gauge

1983
“Word Works,” Walker Art Center, Minneapolis; Projection Instructions
“Film as Installation II,” The Clocktower, New York (catalogue); drawing

1982
“Ten Years of Living Cinema,” Collective for Living Cinema, New York (catalogue); Projection Instructions

1981
“West Coast,” Anthology Film Archives, New York (catalogue); Cue Rolls, Projection Instructions
“American and French Independent Cinema,” Padiglione d'arte contemporanea/Cineteca italiana, Milan (catalogue); Projection Instructions
Color Balance, P.S. 1, Long Island City, New York; three-projector filminstallation, indefinite duration, Super-8 Technicolor loop cassettes, color, silent, 24 fps; when recreated in 2000, transferred to video disc, presented with three video projectors

1980
Color Balance, Media Study/Buffalo; see above
“Film as Installation,” The Clocktower, New York ; photographs
“‘The Pleasure Dome,’ American Experimental Film, 1939-1979,” Moderna Museet, Stockholm; catalogue essays by Jonas Mekas and P. Adams Sitney; The Director and His Actor Look at Footage Showing Preparations for an Unmade Film (2), Production Stills, Cue Rolls

1979
Passing Time, “The New West,” The Kitchen, New York; film loop installation, indefinite duration, 16mm, black and white, silent, 24 frames per second
North Light, “Re-Visions,” Whitney Museum of American Art, New York; film installation and drawings; film loop installation, indefinite duration, 16mm, color, silent, 24 frames per second

1978
International Forum of Young Cinema, Berlin International Film Festival; program curated by John G. Hanhardt; Cue Rolls
“Frameworks,” Water Street Branch, Whitney Museum of American Art; The Director and His Actor Look at Footage Showing Preparations for an Unmade Film (2), Production Stills
“Artists' Film,” Artists Space, New York; Documentary Footage

1977
“The Poetic Eye: Perspectives on the American Independent Film, 1923-1977,” Los Angeles County Museum of Art; Phi Phenomenon, Production Stills, Cue Rolls
“Time,” Philadelphia College of Art (catalogue); Phi Phenomenon
“The Moving Image/N.Y.State”; touring program organized by Gerald O’Grady; Picture and Sound Rushes, Cue Rolls, Projection Instructions
Southern Exposure, “Film Spaces,” Art Gallery, Mount San Antonio College, Walnut Creek, California; film loop installation, indefinite duration, 16mm, color, silent, 24 frames per second

1976
“Text and Image,” New American Filmmakers Series, Whitney Museum of American Art, New York; The Director and His Actor Look at Footage Showing Preparations for an Unmade Film (2), Picture and Sound Rushes
“Fisher/Serra/Shulman,” New American Filmmakers Series, Whitney Museum of American Art, New York; Cue Rolls, Phi Phenomenon
“Neue Avantgardefilme aus den USA,” Werkstattkino, Munich; Production Stills, Cue Rolls

1975
“Stills,” New American Filmmakers Series, Whitney Museum of American Art, New York; Production Stills
Institute of Contemporary Art, London; Production Stills

1974
“Thom Andersen/Morgan Fisher,” Theatre Vanguard, Los Angeles; The Director and His Actor Look at Footage Showing Preparations for an Unmade Film (2), Documentary Footage, Phi Phenomenon, Production Stills, Production Footage, Picture and Sound Rushes, Screening Room

1973
Walker Art Center, Minneapolis; Production Footage

1970
“Information,” Museum of Modern Art, New York (catalogue); The Director and His Actor Look At Footage Showing Preparations for an Unmade Film (2), Production Stills
“North American Filmmakers: At Home and Abroad,” touring program organized by the Film Department, Museum of Modern Art; The Director and His Actor Look At Footage Showing Preparations for an Unmade Film (2)

Bibliography
2004
Paul Arthur, “( ),” Film Comment, January-February

2002
Christopher Knight, “Finding Conceptual Pleasures in Monochromes,” Los Angeles Times, January 25
Catrin Backhaus, “Morgan Fisher,” Frieze, Issue 68, June/July/August
Hans-Christian Dany, “Morgan Fisher,” Springerin, Vol. VIII, Issue 2/02, June–August
Frank Frangenberg, “Morgan Fisher – To See Seeing,” Kunstforum International, Volume 162, November-December
Vanessa Joan Müller, “Gemälde über Bücher,” Texte zur Kunst, Issue 48, December

2001
Rainer Unruh, “Junge Kunst aus Kalifornien,” Kunstforum International, Volume 154, April-May

1999
David E. James, “Hollywood Extras: One Tradition of ‘Avant-Garde’ Film in Los Angeles,” October 90, Fall

1995
Scott MacDonald, ed., “Morgan Fisher: Script of Standard Gauge,” Screen Writings: Scripts and Texts by Independent Filmmakers, University of California Press, Berkeley/Los Angeles/London

1994
Kristine McKenna, “Filmforum Tackles the ‘Beast,’” Los Angeles Times, February 14.
Jesse Lerner, “Independents in L.A.– Scratching the Belly of the Beast,” The Independent, July

1993
Scott MacDonald, Avant-Garde Film: Motion Studies, Cambridge University Press

1992
David Sterritt, “Avant-Garde Films: Recent Trends and Key Works,” and Steve Anker, “Testament to an Orphaned Art”; Blimp, Issue No. 20, Summer; texts in German and English; special issue devoted to the series “Unknown Territories: American Independent Film” presented at the Vienna Film Theater by Sixpack Film, Vienna.
Willem de Greef, “The Found Footage Film as an Art of Reproduction,” and Peter Tscherkassky, “The Analogies of the Avant-Garde,” Found Footage Film, edited by Cecelia Hausheer and Christoph Settele, VIPER/zyclop verlag, Lucerne.

1991
Off Hollywood, Nuovocinema/Pesaro No. 38, Quaderni della Mostra Internazionale del Nuovo Cinema, Marsilio Editori, Venezia; translations of Scott MacDonald’s introduction to A Critical Cinema (1988), and Steve Anker’s essay “The Avant-Garde; Into the Eighties” (1988).
Indipendenti USA, Charles Burnett, Stan Brakhage, Quaderno Informativo, XXVII Mostra Internazionale del Nuovo Cinema, Pesaro; excerpts from MF’s note on Standard Gauge and J. Hoberman’s 1985 review.

1990
John G. Hanhardt, “Beyond Illusion: American Film and Video Art, 1965-75,” catalogue essay for “The New Sculpture 1965-1975: Between Geometry and Gesture, Whitney Museum of American Art, New York.
Erik Saks, “20 Best Films of the Decade,” Modern Times, Issue No. 4, April.
Andy Klein, “Standard Gauge,” The Hollywood Reporter, October 8.
John G. Hanhardt, “Film and Video in the Age of Television,” catalogue essay for “Image World,” Whitney Museum of American Art, New York.

1989
Scott MacDonald, “Morgan Fisher: Film on Film,” Cinema Journal, Vol. 28, No. 2, Winter
Scott MacDonald, “Putting All Your Eggs in One Basket: A Survey of Single-Shot Films,” Afterimage, Vol. 16, No. 8, March.
David James, Allegories of Cinema: American Film of the Sixties, Princeton, University Press.
David Schwartz, “Morgan Fisher,” program note for retrospective at The American Museum of the Moving Image, New York, May 12-May 19, xerox.

1988
Steve Anker, “The Avant-Garde; Into the Eighties,” from the catalogue for “Independent America; New Film 1978-1988,” American Museum of the Moving Image, New York.
Scott MacDonald, A Critical Cinema; Interviews with Independent Filmmakers, University of California Press; introduction and 1987 interview.
Roger Simon, “At the Boundaries: Standard Gauge, The Avant-Garde, and Postmodernism,” Spectator, Vol. 9, No. 1, Fall 1988.
Yann Beauvais, “Des mots encore des mots” and Scott MacDonald, “Le texte comme image” (translation of 1986 essay); catalogue essays for “mot:dites,image,” Musée National d’Art Moderne, Centre National Georges Pompidou, Paris, October-November.

1987
Scott MacDonald, “Morgan Fisher: An Interview,” Film Quarterly, Spring.

1986
J. Hoberman, “Ten the Hard Way — The 10 Best Films of 1985,” The Village Voice, January 7.
Scott MacDonald, “Text as Image in Some Recent North American Avant-Garde Films,” Afterimage, March.
Alan Williams, “Standard Gauge,” Film Quarterly, Fall.

1985
John G. Hanhardt, “The Passion for Perceiving: Expanded Forms of Film and Video Art,” Art Journal, Fall.
J. Hoberman, review of Standard Gauge, The Village Voice, April 30.
P. Adams Sitney, “Rear-Guard,” American Film, July-August 1985.

1984
J. Hoberman, “After Avant-Garde Film,” Art After Modernism: Rethinking Representation, edited by Brian Wallis, The New Museum of Contemporary Art, New York.

1982
J. Hoberman, “Vulgar Modernism,” Artforum, February.

1981
Zeno Birolli and Franco Ghielmetti, catalogue entry, “American and French Independent Cinema,” Padiglione d’arte contemporanea - Cineteca Italiana, Milano, September.

1980
P. Adams Sitney, “The Achievement of the American Avant-Garde Cinema 1960- 1970,” catalogue essay, “‘The Pleasure Dome,’ American Experimental Film 1939-1979,” Moderna Museet, Stockholm.

1979
Jonathan Crary, “Revisions: Whitney Museum,” Flash Art, October-November.
Peter Frank, “Guerrilla Gallerizing,” The Village Voice, May 7.
J. Hoberman, review of Protective Coloration, The Village Voice, October 15.
Trent Myers, “Re-Visions,” Arts Magazine, September.
Lawrence Van Gelder, “New Film Series Opening at the Modern,” New York Times, April 20.
Thom Andersen, “Morgan Fisher,” program note for showing in series “Independent Film Makers in Columbus,” Department of Photography and Cinema, Ohio State University, May 4; mimeograph.
John G. Hanhardt, “Re-Visions: Projects and Proposals in Film and Video,” gallery brochure, Whitney Museum of American Art, April 19-May 13.

1978
James Welling, “Pat O’Neill and Morgan Fisher — ‘Film Spaces,’” Artweek, January 14.

1976
Linda Gross, “The ‘Eastern Influence’ in Film Series,” Los Angeles Times, June 11.
J. Hoberman, “Secrets of the Hand-Held Camera: Films Hollywood Won’t Allow,” Village Voice, April 5.
Graham Weinbren, “Morgan Fisher — Filming the Process,” Los Angeles Vanguard, June 11-18.
Alan Williams, “Evenings for New Film: Morgan Fisher,” program note for showing at Albright-Knox Art Gallery, presented in collaboration with Media Study/Buffalo and the Center for Media Study, SUNY/Buffalo, January 15; xerox.

1975
Regina Cornwell, Recent Radical Film, Art Information Distribution, New York.
John Dorr, “FILMEX Shorts,” The Hollywood Reporter, March 27.

1974
Tony Rayns, “Reflected Light: Independent Avant-Garde Festival,” Sight and Sound, Winter 1973/74.
Thom Andersen, “Films by Morgan Fisher,” program note for screening at Theatre Vanguard, Los Angeles, February 12; mimeograph.
Kevin Thomas, “Phenomenon of Film Explored,” Los Angeles Times, February 12.

1973
Donald Skoller, “The Fisher Phenomenon,” Film Comment, Vol. 9, No. 2, March-April.
Jonas Mekas, “Movie Journal,” The Village Voice, October 25, 1973.

1972
Donald Skoller, “Aspects of Cinematic Consciousness,” Film Comment, Vol. 8, No. 3, September-October.

1969
P. Adams Sitney, “Structural Film,” Film Culture, No. 47, Summer.