Cohen / Estate
Lynne Cohen
(1944, Racine, US - 2014, Montréal, CA)
For more than thirty years, Lynne Cohen has photographed interior spaces without characters: laboratories, spas, waiting rooms or training rooms. Their decoration, often very kitschy, can be comical, even if it helps to reinforce their intriguing, even worrying aspect. The rigorous framing, at the same distance, and the light that highlights materials and colours give these images a constructed appearance. Focusing on the imaginary element of places, sometimes with ill-defined uses, Lynne Cohen suggests a social control that is exercised diffusely.
For 30 years, the photographic work of Lynne Cohen has developed in a radical way through images of spaces of quasi-fictional appearance, where human presence is made manifest by its absence.
Rather, human presence is implied by our recognition of common objects and, above all, because it is known that all those spaces exist and are in use.
These interiors are not a figment of the artist's imagination ; they are found places.
The work of Lynne Cohen voluntarily plays within the ambiguity between ready-made and installation, between the found place and the set-up.
After her first works of a very kitsch aesthetics, and since the 1980's, Lynne Cohen orchestrates a typology of place which has become emblematic of her work : class rooms, work places, leisure spaces, rooms for military training, police schools, spas, laboratories, libraries - places to which we usually give little attention to. By isolating those places and by setting these spaces within her photographic negative, Lynne Cohen reconfigures that familiar terrain to transform it into a work of art; thus, the known terrain becomes strange to us, indeed alien.
In 1998 Lynne Cohen that had always resisted the use of colour, decides to use it in order to put in evidence its synthetic and chemical nature, as well as the properties that render it more unnatural such as plywood, aluminium, or polystyrene.
Lynne Cohen's training as a sculptor is evident in the monumental quality of the objects and the places that she chooses and in the precise rendition of the textures of materials.
She underlines this sculptural dimension by exhibiting her prints framed in Formica, which reinforces the object quality of the images.
LYNNE COHEN, BY ANDREA BLUM
"I first saw the photographs of Lynne Cohen in Paris at Galerie des Archives several years ago. The work put me in a world somewhere between Stanley Kubrick and Ansel Adams and I must admit I was freezing! It is difficult to say whether it is the stark quality of the images, the confusion of realities, or fear of uncomfortable places which gives the work its resonance, but I keep coming back to it as a reference on a multiple of levels.
The work is staged as object and subject. It is classical in form yet baroque in detail. It provides information about "us" but we are absent from view. It is literary yet converts to cinema. It is a document of some sci-fi 60's film but it represents our lives in the late '90's. It is a representation of who we are where we are and how we live and it is extremely shocking! The work causes the viewer to travel with it be it to the gymnasium, the club house, the waiting room. The more you see the less credible it becomes.
It is for these reasons that I think Lynne Cohen deserves support. Her images take the form of questions and it is through this that she lets you into another world."
"There are a few truisms about Lynne I feel I must mention.
Lynne loved the uncanny. Her work turned fiction into fact and fact into fiction, and showed us how insane the world was.
She was irreverent, but not mean.
She was smart.
She was a true lefty, with a tendency to rage against the stupidity of those in power.
She didn't mind living in Canada but remained unhappy that the Canadian dollar was not worth that of the US.
She loved Montreal so she could speak French.
She secretly believed she was French.
She always had several thoughts running concurrently never fully finishing a sentence.
She turned words into sounds & sounds into words.
She wished blueberry muffins had no calories.
She was an exercise maniac.
She enjoyed life.
She was generous.
She adored Andrew.
And it is without question that she was a wonderful friend to us all."
Lynne Cohen
(1944, Racine, US - 2014, Montréal, CA)
Solo exhibitions
2023
Laboratoires / Observatoires, Centre Pompidou, Paris, FR
2019
Lynne Cohen : Double aveugle, 1970-2012, Pavillon Populaire, Montpelier, FR
Lynne Cohen: These Walls, Burnaby Art Gallery, British Columbia, BC
2018
Vintage: 1970-1980, Galería Bacelos, Madrid, ES
Vintage: 1970-1980, Galería Bacelos, Vigo, ES
2017
Tate Modern, London (with Taryn Simon), GB
Lynne Cohen: Vintage Work, 1970-1980, Art 45, Montreal, CA
Lynne Cohen, Art 45, Montreal, CA
2015
Lynne Cohen : un hommage, In Situ - fabienne leclerc, Paris, FR
2013
Faux indices, Musée d'art contemporain de Montréal, CA
2014
Lynne Cohen, Fondation Mapfre (curator : Nuria Enguita), Madrid, ES
Lynne Cohen, Sala Rekalde, Bilbao, ES
Ni l'une ni l'autre, In Situ - fabienne leclerc, Paris, FR
Lynne Cohen, Musée McCord, Montréal, CA
2011
Olga Korper Gallery, Contact Festival Toronto, CA
Cover, Image/image, Promotion et diffusion de l'image contemporaine, Orthez, FR
Lynne Cohen: Photographie, Art45, Montréal, CA
2009
Proof, In Situ - fabienne leclerc, Paris, FR
Faites attention- Watch your step, Galerie le Bleu du Ciel, Lyon, FR
Cover, Le Point du Jour, Cherbourg, FR
Construct, Gallery James Hyman, London, GB
Festival Internacional Cervantino, Guanajuato, MX
2008
Fototeca, Havana, CU
Lynne Cohen - Clear arrangements, Braunschweig Museum of Photography, DE
Lynne Cohen - Clear Arrangement, Galerie Wilma Tolksdorf, Berlin, DE
Camouflage, Hasted/Hunt Gallery, New York, US
2006
Access points d'accès, Parisian Laundry Gallery, Montréal, CA
Hasted/Hunt, New York, USA
Galerie Visor, Valencia, ES
Banff Center for the Arts, a Walter Phillips Gallery Collection exhibition, Jeanne and Peter Lougheed Building, Alberta, CA
Camouflage, Galerie Wilma Tolksdorf, Frankfort, DE
2004
Galerie Bacelos, Vigo, ES
Galleria Visor, Valencia, ES
Image/imatge, Centre d'art, Orthez, FR
No Man's Land, Musée de L'Élysée de Lausanne, CH
Exhibition, Galeria Wilma Tolksdorf, Frank, DE
2002
No Man's Land, National Gallery of Canada, Ottawa, CA
Olga Korper Gallery, Toronto, CA
No man's land, In Situ - fabienne leclerc, Paris, FR
2001
Galeria del Angels, Barcelone, ES
Galerie Wilma Tolksdorf, Frankfurt, DE
No Man's Land, Dalhousie Art Gallery, Halifax, CA
Occupied Territory, Galeria Fucares, Madrid, ES
2000
Centro de Fotografia, Universidad de Salamanca, ES
Olga Korper Gallery, Toronto, CA
Espais, Galeria Visor, Valencia, ES
Galerie Rodolphe Janssen, Bruxelles, BE
PPOW, New York, US
1998
Lynne Cohen, Museum voor Fotografie, Anvers, BE
Plus vrai que nature, Galerie des Archives, Paris, FR
PPOW, New York, US
1995
Karsten Schubert, London, GB
Galerie Rodolphe Janssen, Bruxelles, BE
Lost and Found, Robert Koch Gallery, San Francisco, US
Galerie Rodolphe Janssen, Bruxelles, BE
PPOW, New York, US
Robert Klein Gallery, Boston, US
Art Gallery of York University, US
Chinati Foundation, Marfa, Texas, US
Anderson Gallery, Virginia Commonwealth University, US
1989
Museum für Gestaltung, Zurich, CH
Sweger Konst, Stockholm, SE
1988
Interim Art, London, GB
Samia Saouma Gallery, Paris, FR
Group exhibitions
In the Off Hours, Galerie In Situ - Fabienne Leclerc, Romainville, FR
2021
Civilization: The Way We Live Now, Musée des Civilisations de l'Europe et de la Méditerranée (MUCEM), Marseille, FR
Troubles, Galerie Art et Essai, Rennes, FR
Civilization: The Way We Live Now, National Gallery of Victoria, Melbourne, Australie, AU
Civilization: The Way We Live Now, National Museum of Modern and Contemporary Art
Seoul, KR
Activité permanente, BBB Centre d'art, Toulouse, FR
L'État des choses, Musée régional de Rimouski, Québec, CA
Petit déjeuner au crépuscule, Image/Imatge, Orthez, FR
Art contemporain du Québec, Musée national des beaux-arts du Québec, CA
No Shooting in this Area, Le Bel Ordinaire, espace d'art contemporain Billère, FR
2015
40 Years/40 Artists, University Museum of Contemporary Art, University of Massachusetts, US
Photography Sees the Surface, Higher Pictures, New York, CA
Lynne Cohen, Angela Grauerholz, Mark Ruwedl, Art45, Montreal, CA
2014
Démarches 2: Exposant Deux, Centre d'exposition de Saint-Hyacinthe, Québec, CA
A Decade of Exposure, Exposure Photography Festival, Calgary, CA
1980 à aujourd'hui /1980 to the present, Musée des Beaux-Arts, Montréal, CA
2013
Une Affaire de Famille, la photographie dans les collections de Rodolphe, Stéphane et Sébastien Janssen, Musée de la Photographie, Charleroi, BE
Huit/eight, Art45, Montréal, CA
Des images comme des oiseaux, Centre national des arts plastiques, Paris, FR
Concrete - Photography and Architecture, Fotomuseum Winterthur, CH
Finir En Beauté, Musée Nicéphore Niépce, Chalon-sur-Saône, FR
2011
Rencontres d'Arles (les ateliers), Arles, FR
Mortel, FRAC Basse-Normandie, Caen, FR
Real Venice, Abbey of San Giorgio Maggiore, Venice, IT
Convulsive Beauty, James Hyman Gallery, London, GB
2010
Territoires ordinaires, Frac Bretagne, FR
Constructs, Gallery James Hyman, London, GB
Interior Worlds, James Hyman Gallery, London, GB
Photo España, Museo de la Ciudad, Madrid, ES
MAC's- Grand-Hornu, BE
2009
Art Gallery of Ontario, Toronto, CA
Tilt, Musée château Saint-Jean de le Nogent-le-Rotrou, FR
Grange Prize, Art Gallery of Ontario, CA
Grange Prize, Centro de la Imagen, Mexico, MX
Construct, James Hyman Gallery, London, GB
Olga Korper Gallery, Toronto, CA
The Collector: Glen Bloom, Carlton University Art Gallery, Ottawa, CA
Palais Dorotheum, Vienna, AU
Profecias, Universidad de Salamanca, Salamanca, ES
2008
06Emissaires_QC08, Québec City, Québec, CA
DZ Bank's collection, Staedel Museum, Frankfurt, Germany
Images d'un renouvellement urbain, Le Point du Jour, Cherbourg-Octeville, FR
La Grande traversée-Horizons photographique, Musée du Nouveau Monde, La Rochelle, FR
La Grande traversée-Horizons photographique, Musée du Bas-Saint-Laurent, Rivière-du-loup, CA
Du machinique et du vivant, La Réserve, Pacy-sur-Eure, FR
Through the Artist's Eyes, Dorotheum, Vienna, AU
Find, Montréal : Biennale, Montréal, CA
2006
Small Works, Olga Korper Gallery, Toronto, CA
Here I disappear, The Apartment Gallery, Athens, GR
Étranges mécaniques, Parc culturel de Rentilly, FR
Candida Hoefer - Lynne Cohen, Galerie Grita Insam, Vienna, AU
Hasted/Hunt Gallery, New York, US
Netwerk Aalst, BE
2005
«Polyptique I», Hôpital Charles Foix et L'éclateur Joliot Curie, Ivry-sur-Seine, FR
Contemporary Canadian Photography, Neuer Berliner Kunstverein, Berlin, DE
Contemporary Canadian Photography, Staedtisches Museum Zwickau, DE
Contemporary Canadian Photography, Kunstmuseum Heidenheim, DE
Contemporary Canadian Photography, Staedtische Galerie Waldkraiburg, Berlin, DE
Carleton University, New York, US
2004
National Gallery of Canada, CA
Galerie Bacelos et Visor, ARCO, Madrid, ES
Rivages, Musée d'art et d'histoire de Saint-Brieuc, FR
Artéfacts, Fondation Daniel & Florence Guerlain, Les Mesnuls, FR
Raum Zeit Architecture, Oldenburg Kunstverein, Oldenburg, DE
Perception déstabilisée, Galerie du Cloître Ecole des Beaux-Arts, Nantes, FR
Home sweet home, Centre photographique d'Île-de-France, Pontault-Combault, FR
Festival du cinéma, Orthez, France
2002
Aquaria, Landesgalerie am Oberösterreichischen Landesmuseum, Linz, AU
Galeria Visor, ARCO, Madrid, ES
Salamanca, Un proyecto fotografico, Sala Millares, Madrid; Centro de Arte de Salamanca, ES, Aquaria, Kunstsammlungen, Chemnitz, AU
Le regard de l'autre, Musée des Beaux-Arts de Rouen, FR
Photography, Olga Korper Gallery, Toronto, CA
Dunlop Art Gallery, Regina, CA
Aquaria: über die ungewöhnlichte Beziehung zwichen Wasser und Mensch, Oberösterreichischen, AU
2000
Galeria del angels, Barcelona, ES
Le Siegle du Corps, Musée de l'Élysée Lausanne, CH
Territoires ordinaires (Bustamante, Cohen, Duncan and Oroczo), Centre culturel du Colombier, Rennes, FR
1999
Esuards Distants, IVAM, Valencia, ES
1998
Power Plant, Toronto, CA
Under Construction, Olga Korper Gallery, Toronto, CA
Le donné, le fictif, Centre National de la Photographie, Paris, FR
Musée d'Art Moderne, Villeneuve d'Ascq, FR
Photography's Multiple Roles, Museum of Contemporary Photography, Chicago, US
A History of Women Photographers, National Museum of Women in the Arts, Washington, US
Santa Barbara Museum of Art, Akron Art Museum, US
Evidence, Wexner Center for the Arts, Columbus, US
Objectif Corps, Musée de Beaux Arts, Montréal, CA
Burkhard, Cohen, Griffiths, Ruff, Galerie Rodolphe Janssen, BE
1996
Beyond Recognition : Contemporary International Photography, New England Regional Art Museum, USA; Lawrence Wilson Art Gallery, Perth; Plimsoll Gallery, Hobart, Tasmania; Wollongong Art Gallery, N.S.W.; Newcastle Art Gallery, N.S.W.; Albury Art Gallery, N.S.W.; Waverley Art Gallery, Victoria, AU
Passions Privées, Musée d'Art Moderne de la ville de Paris, FR
Summer of Photography, MUHKA, Antwerp, BE
A History of Women Photographers, New York Public Library, US
1995
Double Mixte (Barry X. Ball, Lynne Cohen, Pascal Convert, Rachel Whiteread), Galerie Nationale du Jeu de Paume, Paris, FR
Visions of Hope and Despair, Museum of Contemporary Art, Chicago, US
Beyond Recognition: Contemporary International Photography, Logan Art Gallery, Queensland, AU
1994
Intimité et froideur, Galerie des Archives, Paris, FR
1993
Sheldon Memorial, Sheldon, USA
Gallery Lincoln, Loveland, USA
Tufts University Arts Gallery, Medford, USA
Vivid: Intense Images by American Photographers , Raab Galerie, Berlin, DE
Raab Boukamel Galleries, London, UK
Gian Ferrari Arte Contemporanea, Milano, IT
Magicians of Light, National Gallery of Canada, CA
Alberta College of Art; Dalhousie University Art Gallery; Mackenzie Art Gallery, CA
Hats and Headgear, San Francisco Museum of Modern Art, US
Galerie Rodolphe Janssen, Brussels, BE
Tableau inaugural, Musée d'Art Contemporain, Montreal, CA
Representatives, Center for Creative Photography, Tucson, US
1991
Das Sibyllinische Auge, Barbara Gross Galerie, Munich, DE
Un-Natural Traces : Contemporary Art from Canada, Barbican Art Centre, London, GB
Lynne Cohen, Thomas Struth, Christopher Williams, Galerie Samia Saouma, Paris, FR
Typologies, Newport Harbor Art Museum, US
To Wit, Rosa Esman Gallery, New York, US
No Laughing Matter, University of North Texas, Denton, US
L'Effet de Réel, Galerie Art & Essai, Université de Rennes, FR
Nouvelles acquisitions, F.R.A.C., Limousin, Limoges, FR
1990
Biennale Internationale de Marseille, FR
Lineart, Gand, BE
Galerie Samia Saouma, Paris, FR
1989
Power Plays, Stills Gallery, Edinburgh, GB
Galerie Samia Saouma, Paris, FR
Photography Now, Victoria and Albert Museum, London, GB
150 Years of Photography, Manes Galley, Prague, CZ
Shifting Focus, Arnolfini Gallery, Bristol; Serpentine Gallery, London, GB
PPOW, New York, US
1988
Art and the Law (traveling show), Rose Art Museum, Brandeis University, US
Democracy I, Democracy II and Democracy III, Dia Art Foundation, Boston, US
Residencies
1993
Ecole des Beaux-Arts de Bordeaux, FR
Ecole des Beaux-Arts de Paris (Préfiguration), FR
International Photography Seminar, Alden Biesen, BE
1994
Arteleku, San Sebastian, ES
1995
Ecole Nationale de la Photographie, Arles, FR, 1995
Centre d'Art Contemporain de Guérigny, FR
Light Work, Syracuse University, US
1996
Wexner Center for the Arts, Columbus, US
1998
Museum voor Fotografie, Antwerp, BE
Universitat de Valencia, ES
2000
Academie Sint Joost, Breda, NL
Hoger Instituut voor Schone Kunst, Antwerp, BE
Monographies
2014Mayo, Nuria Enguita et al. Lynne Cohen. Mapfre Foundation, Madrid, 2014.
2013
Cohen, Lynne. Lynne Cohen: Faux Indices. Musée d'art contemporain de Montréal, 2013.
2012
Diski, Jenny. Nothing is Hidden. Steidl, 2012.
Cohen, Lynne. Almas Gemelas, Tender Puentes. Pamplona, 2012.
Salvesen, Britt. Occupied Territory, Expanded and revised edition. Aperture, New York, 2012.
2011
Marie De Brugerolle. Lynne Cohen. Dazibao/Vu, Montreal, 2011.
2009
Jian-Xing Too. Cover. Le Point du Jour, Cherbourg/Paris, 2005.
2005
Cohen, Lynne. Camouflage. Le Point du Jour, Cherbourg/Paris, 2005.
2001
Thomas, Ann. No Man's Land. Thames and Hudson, London, 2001.
1992
Frédéric Paul et al. L'endroit du décor / Lost and Found. Hôtel des arts & FRAC-Limousin, 1992.
1988
Byrne, David; Mellor, David and Ewing, William. Occupied Territory. Aperture, New York, 1988.
Catalogs
2012
Nothing is hidden. Scotiabank/Steidl Publishers, 2012.
2009
Cover. Le Point du jour, Cherbourg-Octeville, 2009.
2002
Aquaria. Landesgalerie am Oberösterreichischen Landesmuseum, Linz, Salamanca.
Un Proyecto Fotografico, Cosorcio Salamanca, 2002.
2000
Art Chicago 2000 Gallery Catalogue. Chicago, 2000.
On The Table. Wexner Center for the Arts, Columbus, Ohio, 1999.
Esuards Distants. IVAM & Universitat de Valencia, Valencia, 1999.
Le souci du document. Les 400 Coups, Montréal, 1999.
1998
Trafic. Frac Haute-Normandie, 1998.
Art, Document, Market, Science: Photography's Multiple Roles. Museum of Contemporary Photography, Chicago, 1998.
1997
Evidence: Photography and Site. Wexner Center for the Arts, 1997
1996
Contact Sheet. 89, Syracuse, 1996.
Fonds régional d'art contemporain--Limousin: 1989-1995. Limoges, 1996.
Embedded Metaphors. Independent Curators, New-York, 1996.
1995
Criqui, Jean-Pierre. Double Mixte: Barry X. Ball, Lynne Cohen, Pascal Convert, Rachel Whiteread. Galerie nationale du Jeu de Paume, Paris, 1995.
Beyond Recognition: Contemporary International Photography. National Gallery of Australia, 1995.
Vivid: Intense Images by American Photographers. Raab Galerie, Berlin, 1993.
Borcoman, James. Magicians of Light. National Gallery of Canada, 1993.
1992
Lamoureux, Johanne. Stages Without Wings. Art Gallery of York University, 1992
De la curiosité. Dazibao, 1992.
1991
Lanzinger, Pia. Das Sibyllinische Auge. Foto e.V. Munchen und Barbara Gross Galerie, Munchen, 1991.
No Laughing Matter. Independent Curators, New York, 1991.
Freidus, Marc. Typologies, Newport Harbor Art Museum, California / Rizzoli, 1991.
Brown, Carol. Un-Natural Traces, Barbican Art Gallery, London, 1991.
Slemmons, Rod. Living Evidence. Presentation House, Vancouver, 1991.
Thierry de Duve. Lynne Cohen, Edition Galerie Gokelaere & Janssen, 1990.
D'un art, l'autre, Marseille, 1990.
1989
Butler, Susan. Shifting Focus. Arnolfini/Serpentine, 1989.
Press
2002
Vernissage, Magazine of National Gallery of Canada, Spring 2002, pp. 12-1
Pomparat, Catherine. "No man's land". CV Photo, 56, Jan. 2002, p. 32.
Elwall, Robert. "No man's land". AJ (the architect's journal), 24 Jan. 2002, p. 62-63
Delgado, Jérôme. La Presse, 27 Apr. 2002, D15.
"No Man's Land", Canadian Art, Summer 2002, p. 26.
Harris, Gareth. "No Man's land". The Art Book, Jun. 2002, pp. 36-37.
Mizgala, Johanna. "recognizance Mission". CV Photo, 58, Jul. 2002, pp. 26-28.
Bogardi, Georges. "No Man's Land". Canadian Art, Fall 2002, pp. 84-91.
Martinez Gueyraud, Alban; Cohen, Lynn. DC, Revista de critica arquitectonica. Barcelona, 5-6, 2001, pp. 136-146.
Usborne, D. "The Inside Story". The Independent Magazine, London, 6 Oct. 2001, pp. 24-31.
Obscuur, Tijdschrift voor Fotographie 21, dec. 2001.
Bufill, J. "Los decorados encontrados de Cohen", La Vanguardia, 9 Feb. 2001, p. 15
Beck, H. "Menschenleere Laboratorien", Frankfurter Allgemeine Zeitung, 5 Mar. 2001, p. 61.
Malzacher, F. "Klaustrophobie und Macht". Frankfurther Rundschau, 7 Mar. 2001.
Danckaert, B "Hilarisch en beangstigend". De Financieel-Economische Tijd, 22 Sep. 2001.
"Liberation". Cahier Livres, 12 Oct. 2001.
"Lost in Space: No Man's Land". Wallpaper, Dec. 2001.
Darke, Colin. Source, Belfast, #29, Winter 2001, pp. 55-56.
M.J. L'Humanité-Cultures, 29 Dec. 2001.
2000
Public Lexicon, no. 19 & 20, 2000.
Photographie d'une collection. CD, 2000.
Papel Alpha (with an interview by Bert Dankaert). Salamanca, no. 5, 2000.
Aletti, V. Village Voice, 1 Feb. 2000.
Danckaert, B."Ersatz en kinderspeelgoed", Tijd Culture, 2 Feb. 2000.
Klinkenberg, M. Ottawa Citizen, 12 Feb. 2000.
De Vos, J. «Binnen is het proper», Knack, 1 Mar. 2000.
Gopnik, B. «Cohen enters the world of colour», Globe and Mail, 26 Apr. 2000.
Del Rio, V. Lapiz 162, Apr. 2000.
E. Leffingwell. Art in America, Jun. 2000.
1998
Baqué, D. "La photographie plasticienne". Regard, Paris, 1998.
Prévost, Jean-Marc. "Trafic", Frac Haute-Normandie, 1998.
1997
Photographie d'une collection. Hazan, vol.2, Paris, 1997.
1996
Pomparat, Catherine. Les passions privées. Musée d'Art Moderne de la Ville de Paris, 1996.
CV photo, Montréal, no. 37, 1996.
Ollier, Brigitte. Liberation. 19 Jan. 1996.
Lavoie, Vincent. Parachute. #84, Oct. 1996, p. 56.
Smith, Roberta. New York Times, 13 Dec. 1996, p. C28.
Lavoie, Vincent. "Portrait d'un malentendu". Dazibao, 1996.
1995
Tages-Anseiger, Switzerland, 27 Oct. 1995.
M'P, no. 8, New York, 1995.
Martin, M; Hopkinson, A. Contemporary Photographers, 3rd Edition. St James Press, 1995.
Breerette, Geneviève. "Un quatuor pour images en creux au Jeu de paume". Le Monde, 12 Apr. 1995.
Gisbourne, Mark. "Double Mixte". Art Monthly, May 1995.
Dagbert, Anne. Artforum, Summer 1995.
Macel, Christine. Parachute, #79, 1995.
Silver, Joanne. Art News, Nov. 1995, p. 247.
Butler, Susan. «The Mise-en-scène of the Everyday». Art and Design, Nov. 1995.
1994
Arthur Kroker & Michael Weinstein. Data Trash. St Martin's Press, New York, 1994.
Rosenblum, Naomi. A History of Women Photographers. Abbeville Press, 1994.
William A. The Body. Ewing, Thames and Hudson, 1994.
Les Cahiers du Musée National d'Art Moderne, Winter 1994.
Eelbode, Erik. "Gevonden plaatsen" («Found places»), De Witte Raaf, Nov. 1993.
Aguiriano, Maya. El Diario Vasco, 1994.
Aguiriano, Maya. "Interview, Zehar". Oct./Dec. 1994.
Butler, Susan. "Subject-to-Change", Women's Art, no 59, 1994.
1993
Arts Magazine, Feb./Mar. 1993.
Gibson, Wesley. New Art Examiner, Apr. 1993.
Agboton-Jumeau, Jean-Charles. Forum International, Oct./Nov. 1993.
Baker, Kenneth. Artnews, Nov. 1993.
1992
Beyond Glory: Re-Presenting Terrorism. Maryland Institute, 1992
Hagan, Charles. New York Times, 17 Jan. 1992.
Meyer, James. Flash Art, Apr. 1992.
Finley, Kathlenn. Arts Magazine, Apr. 1992.
Loke, Margarett. Art News, May 1992.
Wise, Kelly. Boston Globe, 21 may 1992.
Cornand, Brigitte. Beaux Arts Magazine, Sep. 1992.
Guerrin, Michel. "Plus réel que nature". Le Monde, 7 Oct. 1992.
Ollier, Brigitte. "Lynne Cohen, derrière le rideau". Libération, 21 Oct. 1992.
Campeau, Sylvain. «De la curiosité». Parachute, Oct./Dec. 1992.
Koniger, Maribel. "Frauen und Foto". Applaus, Feb. 1991.
1990
Sullivan, Constance. Women Photographers. Abrams, 1990.
Heresies, no. 25, 1990.
Campeau, Sylvain. Parachute, Jan./Feb. 1990.
Meuris, Jacques. "Lynne Cohen, l'ordinaire et l'extraordinaire". La Libre Belgique, 16 Feb. 1990.
"Les U.S.A. vus de l'intérieur". Art & Culture, Feb. 1990.
Lambrecht, Luk. "Banaliteit". Knack Weekend, 21 Feb. 1990.
Hugunin, James. "Lynne Cohen, Elaine Reichek, Erica Uhlenbeck". New Art Examiner, Apr. 1990.
Turine, Roger-Pierre. "Dites-le avec des photos". Le Vif/ L'Express, 9 Mar. 1990.
Glowen,Ron. "The Eloquence of Empty Rooms". Artweek, 13 Dec. 1990.
Heller, Martin. Der Altag, Jan. 1989.
Creative Camera, 8/9, 1989.
William Zimmer, New York Times, 26 Feb. 1989.
Kaston, Diane. "Exhibition Notes for Still Surreal". Sarah Lawrence College, New York, 1989.
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Double aveugle (1970-2012)
HAZAN, June 2019
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Lynne Cohen - Nothing is Hidden
Steidl, May 2017
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Occupied territory
Denise Wolff, January 2012
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Cover
Le point du jour, October 2009
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Camouflage
Le Point du Jour, January 2006
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No man's land - Les photographies de Lynne Cohen
Thames & Hudson, February 2003
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Salamanca. Un proyecto fotografico
Consorcio Salamanca 2002, January 2002
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L'endroit du décor - Lost and Found
Editions du F.R.AC. Limousin, Editions de l'Hôtel des Arts, April 1992
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Lynne Cohen
Galerie Bacelos,
