Solo Exhibition Catalogues and Books

  • 2015Keith Arnatt, Absence of the Artist, Sprüth Magers, London.
  • 2012Keith Arnatt, works 1967-1996, Maureen Paley, London.
  • 2009Box, Body, Burial: The sculptural imagination of Keith Arnatt, Henry Moore Institute, Essays on Sculpture, Leeds.
  • 2007Keith Arnatt, I’m a Real Photographer, Chris Boot/Photographers’ Gallery, London.
  • 1992One Foot Has Not Reached the Next Street, The British Council.
  • 1991Keith Arnatt, XXI Bienal de São Paulo, The British Council.
  • 1989Rubbish and Recollections, The Photographers’ Gallery, London/Oriel Mostyn Gallery, Llandudno.
  • 1986The Forest of Dean, Arnolfini Gallery, Bristol.
  • 1979Walking the Dog, Omega Books, London.
  • 19701220400-0000000, bulletin 23, art & project, Amsterdam.
  • 1969TV Project Self-Burial, Fernsehgalerie Gerry Schum, Publication No.10, Düsseldorf.


  • Selected group exhibitions catalogues

  • 2016Conceptual Art in Britain 1964-1979, Tate Publishing, London.
  • 2016Performing for the Camera, Tate Publishing, London.
  • 2015Konception/Conception, more Konzeption Conception now, Museum Morsbroich, Leverkusen.
  • 2014Manifesto! An Alternative History of Photography, Museum Folkwang/Fotomuseum Winterthur/Steidl.
  • 2014Ruin Lust, Tate Publishing, London.
  • 2013Uncommon Ground: Land Art in Britain 1966-79, Hayward Publishing, London.
  • 2012Ends of the Earth, Land Art to 1974, MOCA, Los Angeles.
  • 2012Observers: Photographers of the British Scene From the 1930s to Now, SESI-SP Editora, São Paulo.
  • 2011Modern British Sculpture, Royal Academy Publishing, London.
  • 2011United Enemies, Henry Moore Institute, Leeds.
  • 2010Human, Musée d’Art moderne et d’Art contemporain, Nice.
  • 2009In & Out of Amsterdam: Travels in Conceptual Art, 1960-1976, MoMA, New York.
  • 2008No Such Thing as Society, Hayward Publishing, London.
  • 2007Centre of the Creative Universe: Liverpool and the Avant Garde, Tate Liverpool.
  • 2007How We Are: Photographing Britain, Tate Publishing, London.
  • 2006How To Improve the World: 60 Years of British Art, Hayward Publishing, London.
  • 2004Behind the Facts: Interfunktionen 1968-75, Fundació Joan Miró, Centre d’Estudis d’Art Contemporani, Barcelona.
  • 2002Blast to Freeze, British Art in the 20th Century, Kunstmuseum Wolfsburg/Hatje Cantz.
  • 2001Conception, Conceptual Documents 1968-1972, Norwich Gallery, Norwich.
  • 2001Live In Your Head: Concept and Experiment in Britain 1965-1975, Museu do Chiado, Lisbon.
  • 2000Live In Your Head: Concept and Experiment in Britain 1965-1975, Whitechapel Art Gallery, London.
  • 1998Chemical Traces: Photography and Conceptual Art 1965-1975, Ferens Art Gallery, Kingston upon Hull.
  • 1997The Impossible Document: Photography and Conceptual Art in Britain 1966-1976, Camerawork, London.
  • 1997On the Bright Side of Life, NGKB Berlin/Kunstverein Ludwigshafen am Rhein.
  • 1996Mai de la photo, Question de Genres, Edition Mairie de Reims.
  • 1992Internationale Foto-Triennale, Esslingen.
  • 1991De-Composition: Constructed Photography in Britain, British Council.
  • 1991Pivot, sixteen artists using photography in Wales and Philadelphia, Oriel Mostyn, Llandudno.
  • 1989Through the Looking Glass: Photographic Art in Britain 1945-1989, Barbican Art Gallery, London.
  • 1989Anima Mundi, Still Life in Britain, Stills Gallery, Edinburgh/MCPC, Ontario.
  • 1987Mysterious Coincidences: New British Colour Photography, The Photographers’ Gallery, London and Ffotogallery, Cardiff.
  • 1986Photography as Performance, The Photographers’ Gallery, London.
  • 19841965-72: When Attitudes Became Form, Kettles Yard, Cambridge & Fruitmarket Gallery, Edinburgh.
  • 1983The Prosaic Landscape, Ffotogallery, Cardiff & Museum of Modern Art, Oxford.
  • 1981British Art 1940-1980, The Arts Council Collection, Hayward Gallery, London.
  • 1981British Sculpture in the Twentieth Century, Whitechapel Art Gallery, London.
  • 1980Photography as Medium, British Council.
  • 1980Gerry Schum, Stedelijk Museum, Amsterdam & Museum Boymans van Beuningen, Rotterdam.
  • 1976Time Words and the Camera/Zeit, Worte und die Kamera, Neue Galerie am Landesmuseum, Joanneum, Graz.
  • 1976Arte inglese oggi 1960-76, Electa, Milan.
  • 1976Monumente durch Medien ersetzen…, Kunst- und Museumsverein Wuppertal.
  • 1973Beyond Painting & Sculpture, Arts Council of Great Britain, London.
  • 1972The New Art, Hayward Gallery, Arts Council of Great Britain, London.
  • 1972Seven Exhibitions, Tate Gallery, London.
  • 1971Roadshow: A New English Inquiry, XI Bienal de São Paulo, British Council.
  • 1971Wall Show, Lisson Publications, London.
  • 1970Idea Structures, Camden Arts Centre, London.
  • 1970Information, Museum of Modern Art, New York.
  • 1970Art as Idea in England, CAYC (Centro de Arte y Comunicación), Buenos Aires.
  • 1970The British Avant Garde, New York Cultural Center, New York.
  • 1970Umwelt-Akzente: die Expansion der Kunst, Kunstkreis Monschau.
  • 1969Konzeption-Conception, Städtichen Museum, Leverkusen.
  • 1969557,087, Seattle Art Museum, Seattle.
  • 1969955,000, Vancouver Art Gallery, Vancouver.
  • 1969Environments Reversal, Camden Arts Centre, London.


  • Selected Articles

  • 2016Dillon, Brian, Conceptual Art in Britain 1964-1979, Tate Britain, Artforum.com, Slant, 16 August 2016.
  • 2016Vasey, George, Conceptual Art in Britain 1964-1979, Art Monthly, June 2016, No. 397, pp. 20-22.
  • 2016Cumming, Laura, So whose bright idea was this?, The Observer, 17 April 2016, p. 31.
  • 2016Spence, Rachel, Thinking makes it so, FT Weekend, Life & Arts, 16 & 17 April 2016, p. 11.
  • 2016Collings, Matthew, Here’s a bright idea, Evening Standard, Tuesday 12 April 2016, p. 30, 31.
  • 2016Laing, Olivia, The art of nothing, The Guardian, Saturday 9 April 2016, p. 14.
  • 2016Crow, Thomas, Conceptual Art in Britain: 1964-1979, Artforum.com, Preview, January 2016.
  • 2015Smith, Trevor H., Absence of the Artist, Aesthetica Magazine, online, 26 September 2015.
  • 2015Williamson, Andrea, Keith Arnatt: Absence of the Artist, This is tomorrow, online, 16 September 2015.
  • 2015Sritharan, Brennavan, Keith Arnatt: the conceptual photographer who influenced a generation, British Journal of Photography, online, 4 September 2015.
  • 2015Eicker, Eva, Absence of the Artist, Photomonitor, online, 4 September 2015.
  • 2015Compton, Nick, High concept: Keith Arnatt’s ‘Absence of the Artist’ at Sprüth Magers, Wallpaper*, online, 1 September 2015.
  • 2015Orr, Gillian, Keith Arnatt used humour to explore the notion of the invisibility of the artist, The Independent, online, 30 August 2015.
  • 2015Orr, Gillian, Keith Arnatt used humour to explore the notion of the invisibility of the artist, The Independent on Sunday, 30 August 2015, pp. 10-11.
  • 2015Knight, James, ‘Self-Burial with Mirror’( 1969) by Keith Arnatt, FT Weekend, Life & Arts, 29 & 30 August 2015, p.16.
  • 2015O’Hagan, Sean, Keith Arnatt is proof that the art world doesn’t consider photography ‘real’ art, The Guardian, online, 27 August 2015.
  • 2015Hegert, Natalie, Comic Relief: Humour and Playfulness at Frieze New York 2015, Huffington Post, online, 14 May 2015.
  • 2013Castets, Simon, A Stone Left Unturned, Yvon Lambert Paris, February – March 2013, 68-69.
  • 2013Smyth, Cherry, Keith Arnatt, Art Monthly, February 2013, 26.
  • 2013Sherman, Sam, Critics’ Picks Keith Arnatt, Artforum.com, 4 January 2013.
  • 2013Keith Arnatt, Monopol, January 2013, 129-130.
  • 2012Doubal, Rosalie, Keith Arnatt: Works 1967-96, Time Out, 11 December 2012, 72.
  • 2012Pyś, Pavel S., Keith Arnatt: Erasure and Disappearance, Mousse, December 2012 – January 2013, 220-223.
  • 2012Ackermann, Tim, Der Freak von nebenan, Welt am Sonntag, 25 November 2012, 66.
  • 2012Sleeman, Joy, The New Art, Hayward Gallery, London, 1972, Sculpture Journal, Volume 21.2, 2012, 73.
  • 2011Alfrey, Nicholas, Romanticism Gets Real, Tate Etc, January 2011, 44-47.
  • 2010Keith Arnatt, Self-Burial (Television Interference Project), 1969, Esopus, Fall 2010, 2, 8, 48, 72, 98, 124, 164, 176 & 177.
  • 2009Fox, Dan, A Serious Business, Frieze, March 2009, cover & 108-113.
  • 2009Packer, William, Box, Body, Burial, Henry Moore Institute, Financial Times, 11 March 2009, 10.
  • 2009Grafik, Claire, Keith Arnatt 1930-2008, Art Monthly, February 2009, 23.
  • 2009Martin, Courtney J., Keith Arnatt, Henry Moore Institute, Picks, Artforum, April 2009.
  • 2008Herbert, Martin, Keith Arnatt, Art Monthly, March, 28-29.
  • 2007Schwabsky, Barry, Keith Arnatt, The Photographers’ Gallery, Artforum, November 2007, 378.
  • 2007Dillon, Brian, Keith Arnatt, Frieze, September 2007, 188.
  • 2006O’Reilly, Sally, Do not adjust your set, Financial Times Magazine, October 2006, 42.
  • 2004Wege, Astrid, Ready to Shoot, Kunsthalle Dusseldorf, Artforum, Summer 2004, 261.
  • 2003Hunt, Ian, Live in Your Head, Whitechapel Art Gallery, London, Frieze, October 2000, 132-133.
  • 2000Searle, Adrian, Slice of book, anyone?, The Guardian, 8 February 2000, 14.
  • 2000Dorment, Richard, Idealists with big ideas, The Daily Telegraph, 10 February 2000
  • 1997Hatton, Brian, Paraphotography, Art Monthly, June 1997, cover, 1-5.
  • 1993Millar, Jeremy, Keith Arnatt, Frieze, May 1993, 55.
  • 1990Walker, Ian, Keith Arnatt, European Photography, July 1990, 32-35.
  • 1989Caiger-Smith, Martin, Keith Arnatt, Transport to Another World, Creative Camera, June 1989.
  • 1989Cork, Richard, Refuse Assurance, The Listener, 35.
  • 1989Feaver, William, Good Clean Dirt, The Sunday Observer, 18 June 1989.
  • 1989Caiger-Smith, Martin, Blurring the boundaries, Royal Academy Magazine.
  • 1988Butler, Susan, Between Frames, Aperture 113, New York.
  • 1983Areas of Outstanding Beauty, ffhotoview, Summer 1983.
  • 1979Feaver, William, Walking the dog in Dering Street, The Sunday Observer, 25 November 1979
  • 1977Tisdall, Caroline, Catching his death, The Guardian, 30 May 1977
  • 1976Morris, Lynda, Arte ingleses oggi, Data No. 20, Mar/April 1976, 45, 54.
  • 1973Celant, Germano, British Avantgarde, Domus, 48.
  • 1972Tisdall, Caroline, Art Think, The Guardian 17 August 1972.
  • 1972Brett, Guy, Live action pieces at the Tate, The Times, 29 February 1972.
  • 1972Cork, Richard, A new starting point for the Tate?, Evening Standard, 9 March 1973, 22.
  • 1971Meehan, Thomas, A non-art article on art, Horizon, XIII No. 4, Autumn 1971, 4-5.
  • 1971Harrison, Charles, Art on T.V., Studio International, January 1971, 30.
  • 1970Avalanche, No. 1, Fall 1970, 3.
  • 1970Honnef, Klaus, Zhen Fragen zur Concept Art, Magazin Kunst, 10 Jahrgang, Nr. 38, 2 Quartal, 1970, 1776.
  • 1970Brett, Guy, Idea Structures, The Times, 3 July 1970.


  • Works made for magazines, catalogues and publications

  • 2016Three Extensions, Publication, David Lamellas, Primary Information, New York.
  • 1997Three Extensions, Publication, David Lamellas, Kunstverein München/Witte de With, Rotterdam.
  • 1972Trouser – Word Piece, The New Art, Hayward Gallery, Arts Council of Great Britain, London. vol.180, no. 924.
  • 1973Banausic Effort, Il Corpo Come Linguaggio (La “Body-art” e storie simili), Giampaolo Prearo Editore.
  • 1971Art as an Act of Omission, Interfunktionen, Cologne, no. 6, September, 1971.
  • 1971I have decided to go to the Tate Gallery next Friday, The British Avant Garde, New York Cultural Center, New York.
  • 1971I have decided to go to the Tate Gallery next Friday, Studio International, London, May 1970.
  • 1971Did I Intend to do this Work?, Wall Show, Lisson Publications, London, 1971.
  • 1970A Specification for an Art Condition, Interfunktionen, Cologne, no.5, November 1970.
  • 1970Is it possible for me to do nothing as my contribution to this exhibition?, Interfunktionen, Cologne, no. 5, November 1970.
  • 1970This Statement appears on this Wall, Studio International, London, July/August Exhibition, vol.180, no. 924, p. 25.
  • 1970Is it Possible for me to do nothing as my contribution to this exhibition? Idea Structures, Camden Arts Centre, London.
  • 1970A Specification for an Art Condition, Idea Structures, Camden Arts Centre, London.
  • 1970Three Extensions, Publication, David Lamellas, Nigel Greenwood Inc Ltd. London.
  • 1970Decay, Interfunktionen, Cologne, no.4, March 1970.


  • Selected writings and statements

  • 2004Self Burial, Fernsehgalerie Gerry Schum, Ready to Shoot, Kunsthalle Düsselforf, 2004.
  • 1990Self Burial, 19:4:90 Television Interventions, Third Eye Centre, Glasgow.
  • 1982Sausages and Food, Creative Camera, October 1982.
  • 1976The Visitors, Zeit, Worte und die Kamera, Neue Galerie am Landesmuseum, Joanneum, Graz, 1976.
  • 1976Snapshots, Arte inglese oggi, 1960-76, Palazzo Reale, Milan, 1976.
  • 1973Untitled statement, Beyond Painting and Sculpture, Arts Council of Great Britain, 1973.


  • Selected Interviews with the artist

  • 2001Interview with Catherine Mosely in Conception, Conceptual Documents 1968-1972, Norwich Gallery, Norwich, 2001.
  • 1997Interview with John Roberts, The Impossible Document: Photography and Conceptual Art in Britain 1966-1976, Camerawork, London.


  • Reference & other

  • 2015Perspectives on Place, Theory and Practice in Landscape Photography, Bloomsbury, London, J.A.P. Alexander, p 62, ill. 63.
  • 2005Sperlinger, Mike, Orders! Conceptual Art’s Imperatives, Afterthought, new writing on conceptual art, Rachmaninoff’s, London, 2005, 17, 18.
  • 1997Lippard, Lucy R, Six years: the dematerialization of the art object from 1966 to 1972. University of California Press, Los Angeles and London. 50-51, 119, 166, 172-74, 225.
  • 1973Lippard, Lucy R, Six years: the dematerialization of the art object from 1966 to 1972. Praeger, New York.
  • Copyright © 2017 Keith Arnatt Estate.