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D O U G A N D M I K E S TA R N

19 DECEMBER 2025 — 08 FEBRUARY 2026

D O U G A N D M I K E S TA R N UNDER THE SK Y

MAYA FRODEMAN GALLERY

UNDER THE SK Y Long celebrated for expanding the

atmospheric change – takes on unusual

material and conceptual possibilities

resonance. The sky offers beauty, but

of photography, Doug and Mike Starn

also distance; it remains indifferent to

turn their gaze upward in Under the

the brutality enacted beneath it. “The

Sky, treating the sky not as backdrop

innocent and natural world, the sky

but

with

overhead, which is there anytime you’d

the contradictions of contemporary

like to notice, stands in direct opposition

life

–

to the willful hate and oppression

ubiquitous forms we see daily, yet

we know is below it,” they write.

rarely stop to consider – the Starns

Grounded in photography, the Starns’

bring the sky into the foreground,

process

using it to frame questions about

meticulous, yet intentionally imperfect.

the

Printed on hand-coated gelatin papers

principal.

through

lived

Contending

images

realities

clouds

beneath

it.

time-consuming

and

using water-soluble inks, the images

The sky is humbling in its scale,

refuse to behave predictably. Wheat

omnipresent, and endlessly varied.

paste, which is also water-based, is

To photograph it feels almost absurd,

used to assemble the works, often

the Starns admit, precisely because

causing the ink to temporarily dissolve

it is always there. Yet the simple joy

or misregister. Instead of correcting

of looking – the “ocular pleasure”

these disruptions, the Starns invite and

of witnessing its color, light, and

embrace them, painting over the marks

in a contemporary form of “spotting,” a

cemetery wall, be a friend to the weak

nod to their early photography training

and love justice, people searching a

in the 1970s. “Life isn’t perfect,” they

building after an airstrike, and just

write. “Problems and mistakes are part

give

of everyday reality. Our work doesn’t

brutality exist side by side, as they

hide the problems – it highlights

do in life. The titles are drawn “from

the attempts to deal with them.”

the world that is under the sky” –

some

truth.

Beauty

and

lifted from newspaper captions, song Once

sealed

lyrics, poetry, and literature. They

varnish and wax, the surfaces take

are fragments of language that give

on an atmospheric depth, as though

context to what lies beyond the frame

weathered by time or touched by

of the photographed sky, ranging from

shifting

both

the sublime to the absurd, the terrible

concave and convex and supported

to the tender. While recognition of a

by welded armatures, intensify this

reference can be gratifying, it is never

effect: light pools, bends, and slips

necessary; the titles function simply as

across their surfaces, making each

collected words, intuitively assembled

viewing contingent on movement and

rather than systematically catalogued.

illumination. Flat works hover between

As Dagmar Reichert notes, paradox

photograph

revealed

“only exists in the world of logic, it

gradually as illumination shifts. Each

does not exist in the world of art.” Art’s

piece becomes a site where stillness

power lies in its ability to hold multiple,

confronts turbulence, which is echoed

even contradictory meanings at once,

in their titles, such as anybody sweet

echoing the poet Keats’s praise for

and good and kind in the world, view

artists who work within “uncertainties,

of a bombed residential building, it’s

mysteries, doubts, without any irritable

a beautiful day, bullet holes in the

reaching

air.

beneath

Curved

and

layers

works,

object,

after

fact

and

reason.”

In a moment defined by darkness

The New York Times, Dagens Nyheter,

the Starns look up. They ask us to do

Corriere della Sera, Le Figaro, The

the same, not as an escape, but as

Times (London), Art in America, and

a reflection. The sky, indifferent yet

Artforum, amongst many other notable

inspiring, becomes a place to measure

media. Major artworks by the Starns

ourselves: who we are, what we inflict,

are represented in public and private

what we cherish, and what we might still

collections

make possible. Through their material

of Modern Art (NY); San Francisco

choices, their embrace of accident, and

Museum of Modern Art (CA); Solomon

their willingness to hold contradiction

R. Guggenheim Museum, (NY); The

without resolving it, the Starns present

Jewish Museum, (NY); The Metropolitan

a body of work that feels as vulnerable

Museum of Art (NY); Moderna Museet

and resilient as the world it reflects.

(Stockholm);

The

(Melbourne);

including:

Victoria of

The

Museum

National

American

Gallery Whitney

Doug and Mike Starn were represented

Museum

Art

(NY);

by Leo Castelli from 1989 until his

Yokohama Museum of Art (Japan);

death in 1999. Their art has been the

La Bibliotèque Nationale (Paris); La

object of numerous solo and group

Maison Européenne de la Photographie

exhibitions in museums and galleries

(Paris); Los Angeles County Museum of

worldwide. The Starns have received

Art (CA), amongst many others. They

many honors including two National

live and work in Beacon, New York.

Endowment for the Arts Grants in 1987 and 1995; The International Center for Photography’s Infinity Award for Fine Art Photography in 1992; and, artists in residency at NASA in the mid-nineties. They have received critical acclaim in

UNCONTROLLED NARRATIVE, 2025 Acrylic on canvas 60 x 60 inches

let me see you smile again, 2025 Ultrachrome K3 Epson ink jet prints on gelatin hand-coated paper, acrylic paint, wheat paste and PVA glue, varnish, wax, artist frame 51 1/4 x 86 inches Framed dimensions 66 x 100 1/4 inches

anybody sweet and good and kind in the world, 2025 Ultrachrome K3 Epson ink jet prints on gelatin hand-coated paper, acrylic paint, wheat paste and PVA glue, varnish, wax, artist frame 42 x 35 inches Framed dimensions 51 1/2 x 44 1/4 inches

threats, insults, kicks and blows, 2025 Ultrachrome K3 Epson ink jet prints on gelatin hand-coated paper, acrylic paint, wheat paste and PVA glue, fiber board varnish, wax 48 x 65 x 6 inches

it’s a beautiful day, 2025 Ultrachrome K3 Epson ink jet prints on gelatin hand-coated paper, acrylic paint, wheat paste and PVA glue, fiber board varnish, wax 59 x 46 x 7 1/4 inches

I can’t breathe, 2025 Ultrachrome K3 Epson ink jet prints on gelatin hand-coated paper, acrylic paint, wheat paste and PVA glue, varnish, wax, artist frame 16 x 69 inches Framed dimensions 21 1/2 x 75 inches

i am a man, 2025 Ultrachrome K3 Epson ink jet prints on gelatin hand-coatedpaper, acrylic paint, wheat paste and PVA glue, varnish, wax, artist frame 21 1/2 x 28 1/2 inches Framed dimensions 27 x 34 inches

concave interrogation II, 2025 Ultrachrome K3 Epson ink jet prints on gelatin hand-coated paper, acrylic paint, wheat paste and PVA glue, fiber board varnish, wax 27 1/2 x 37 x 4 inches

everything is waiting for me to understand it, 2025 Ultrachrome K3 Epson ink jet prints on gelatin hand-coated paper, acrylic paint, wheat paste and PVA glue, fiber board varnish, wax 28 x 36 x 3 3/4 inches

concave interrogation II, 2025 Ultrachrome K3 Epson ink jet prints on gelatin hand-coated paper, acrylic paint, wheat paste and PVA glue, fiber board varnish, wax 27 1/2 x 37 x 4 inches

be a friend to the weak and love justice, 2025 Ultrachrome K3 Epson ink jet prints on gelatin hand-coated paper, acrylic paint, wheat paste and PVA glue, varnish, wax, artist frame 18 x 32 inches Framed dimensions 23 x 38 inches

UNCONTROLLED NARRATIVE, 2025 Acrylic on canvas 60 x 60 inches

bullet holes in the cemetery wall, 2024-2025 Ultrachrome K3 Epson ink jet prints on gelatin hand-coated Zerkall paper, acrylic paint, pva glue, wheat paste, varnish, wax and fiberboard 27 1/2 x 46 1/2 x 7 inches

it’s love and sympathy, 2024-2025 Ultrachrome K3 Epson ink jet prints on gelatin hand-coated Zerkall paper, acrylic paint, pva glue, wheat paste, varnish, wax and fiberboard 62 1/2 x 48 x 7 1/2 inches

but now, now, now, now, 2023 Ultrachrome K3 epson jet print on gelatin hand-coated Zerkall paper and scotch tape Framed dimensions 62 1/2 x 47 1/4 x 6 inches

with god on our side, 2024-2025 Ultrachrome K3 Epson ink jet prints on gelatin hand-coated Zerkall paper, acrylic paint, pva glue, wheat paste, varnish and wax 46 1/2 x 34 1/2 inches Framed dimensions 54 x 42 1/2 inches

one morning two butterflies play, 2024-2025 Ultrachrome K3 Epson ink jet prints on gelatin hand-coated Zerkall paper, acrylic paint, pva glue, wheat paste, varnish and wax 46 1/2 x 34 1/2 inches Framed dimensions 54 x 42 inches

Doug and Mike Starn Artist Notes Under the Sky: My battery is low and it’s getting dark. In this time of brutality, I need a moment of respite to appreciate beauty in nature. Beauty can inspire better things from ourselves. But it’s hard to accept that, not to feel guilty. Starting with beauty and ending up somewhere else, looking at the sky made me think about horrors. The innocent and natural world, the sky overhead, which is there anytime you’d like to notice, stands in direct opposition to the willful hate and oppression we know is below it. As Bob Dylan wrote in “Chronicles,” “Dreaming is dangerous. Look the world in the eye.” Philosophically mooring awareness of our natures down here to the beauty of the sky, so powerful and omnipresent. It’s a thing that inspires a person to take measure of what we do, who we are, who we’ve always been, both good and bad.

some titles: anybody sweet and good and kind in the world view of a bombed residential building it’s a beautiful day bullet holes in the cemetery wall be courteous to all; bow down to none I can’t breathe inexpressively delicious to hate them and fear them be a friend to the weak and love justice people searching a building after an airstrike unlimited beautiful combinations I am a man one morning two butterflies play with God on our side you are my flower, you are my power interrogation II and everything is waiting for me to understand it just give me some truth unrelenting grief

DOUG AND MIKE STARN American artists, born 1961 Based in Beacon, New York EDUCATION School of the Museum of Fine Arts, Boston SOLO MUSEUM EXHIBITIONS 2018 – This thing called life MFA H: The Museum of Fine Arts, Houston, June 10th through September 3rd. 2018 – The Geometry of Innocence (permanent installation) Ordrupgaard, Charlottenlund, Denmark. Inaugurated in May. 2014-15 – Big Bambú: 5,000 Arms to Hold You, The Israel Museum Jerusalem, Jerusalem, Israel. 2013 – Doug + Mike Starn: Big Bambú #8, Naoshima Museum, Setouchi Triennial, Teshima, Japan. 2012-15 – Doug + Mike Starn: Big Bambú, Minotaur Horn Head, MACRO Testaccio Museum, Rome, Italy. 2012 – Gravity of Light, The Cincinnati Art Museum at the Holly CrossImmaculata Church, Cincinnati, OH (traveling exhibition). 2011 – Big Bambú, official collateral exhibition to the 54th Venice Biennale, Venice, Italy 2010 – Doug + Mike Starn on the Roof, Big Bambú: “You Can’t, You Don’t, and You Won’t Stop”, The Metropolitan Museum of Art, New York, NY. 2009 – Gravity of Light, Wood Street Galleries at the Pipe Building, Pittsburgh, PA (traveling exhibition). 2008 – Attracted to Light, Steele Gallery at Rocky Mountain College of Art & Design, Denver, CO. 2007 – Doug and Mike Starn: Black Pulse 2000-2007, The Print Center, Philadelphia, PA. 2006 – Absorption + Transmission, Stedelijk Museum de Lakenhal, Leiden, the Netherlands. 62

FotoFest 2006, Houston TX, and the Wood Street Galleries, Pittsburgh, PA. 2005 – Absorption + Transmission, The National Academy of Sciences, Washington, D.C. (traveling exhibition). 2004 – Gravity of Light, Färgfabriken Kunsthalle, Stockholm, Sweden (traveling exhibition). Behind Your Eye, The Neuberger Museum of Art at Purchase College, Purchase, New York (traveling exhibition). 1997 – Size of Earth, The Friends of Photography / The Ansel Adams Center, San Francisco, California. 1996 – Doug and Mike Starn: Retrospective, Overgaden Ministry of Culture, Copenhagen, Denmark. 1994 – Doug and Mike Starn: Sphere of Influence, Portland Museum of Art, Portland, Oregon. 1993 – Doug and Mike Starn; Naoshima Contemporary Art Museum, Kagawa, Japan. Marking Time; Doug and Mike Starn Photographs, National Gallery of Victoria, Melbourne, Australia. 1990-91 – Doug and Mike Starn (catalogue published by Harry N. Abrams with text by Andy Grundberg and introductory essay by Robert Rosenblum; exhibit curated by Sarah Rogers Lafferty), traveled to: Baltimore Museum of Art, Baltimore, Maryland. Center for the Fine Arts, Miami, Florida. Blaffer Gallery, The University of Houston, Texas. The Contemporary Arts Center, Cincinnati, Ohio. The Akron Museum of Art, Akron, Ohio. 1988 – Mike and Doug Starn: Selected Works 1985-87, traveled to: Honolulu Academy of Art, Honolulu, Hawaii. University Art Museum, University of California at Berkeley, Berkeley, California. Wadsworth Athenaeum, Hartford, Connecticut. Museum of Contemporary Art, Chicago, Illinois. 1987-88 – The Christ Series, traveled to: Museum of Modern Art, San

Francisco, California. The John and Mable Ringling Museum of Art, Sarasota, Florida.

SOLO GALLERY EXHIBITIONS 2025 - Under the Sky, Maya Frodeman Gallery, December - February; Under the Sky, Wetterling Gallery; A Tragedy of Infinite Beauty, HackelBury Fine Art; Under the Sky, Weinstein Hammons Gallery 2023 - Doug and Mike Starn - Recent Work, Tayloe Piggott Gallery, February - April. 2019 – Iggy and Franz, Wetterling Gallery, June - August. 2014 – Doug and Mike Starn, “No Mind Not Thinks No Things things”, HackelBury Fine Art, London, UK. – Mike + Doug Starn, “No Mind Not Thinks No Things Juju”, Wetterling Gallery, Stockholm, Sweden. 2009 – Big Bambú, Wetterling Gallery, Stockholm, Sweden; Doug and Mike Starn, Recent Works”, Baldwin Gallery, Aspen,CO. 2008 – alleverythingthatisyou, David Weinberg Gallery, Chicago, IL. 2007 – alleverythingthatisyou, Wetterling Gallery, Stockholm, Sweden; New Works (working title) Weinstein Gallery, Minneapolis, Minnesota. 2006 – Opposition of Coincidents, Torch Gallery, Amsterdam, The Netherlands; alleverythingthatisyou, Baldwin Gallery, Aspen, Colorado; Mike and Doug Starn, Galeria Metta, Madrid, Spain. 2005 – Impermanence, Leo Castelli Gallery, New York, New York. 2004 – I’m a negative falling down to the light a silhouette veins flowing with black visible to these useless blind eyes, Björn Wetterling Gallery, Stockholm, Sweden Toshodaiji, Akira Ikeda Gallery, Taura, Japan. Attracted to Light, Baldwin Gallery, Aspen,

Colorado. 2003 – Attracted to Light, Stephen Wirtz Gallery, San Francisco, California. Absorption of Light – Lisa Sette Gallery, Scottsdale, Arizona; Galerie Bhak, Seoul, South Korea; Torch Gallery, Amsterdam, the Netherlands; Galerie Hans Mayer, Düsseldorf, Germany. 2001-02 – Absorption of Light, Stephen Wirtz Gallery, San Francisco, California. 2001 – New Work, Weinstein Gallery, Minneapolis, Minnesota. 2000 – Black Pulse, Baldwin Gallery, Aspen, Colorado. Doug and Mike Starn, Grossman Gallery / School of the Museum of Fine Arts. Permanent Collection, Museum of Fine Arts, Boston, Massachusetts. 1999 – Fay Gold Gallery, Atlanta, Georgia. 1998 – Blot Out the Sun, Baldwin Gallery, Aspen, Colorado. Black Sun Burned, Leo Castelli Gallery, New York, New York. 1996 – Helio Libri, Fay Gold Gallery, Atlanta, Georgia. 1995 – Galerie Bhak, Seoul, South Korea. Helio Libri, Pace / MacGill Gallery, New York, New York. 1994 – Spectroheliographs, Leo Castelli Gallery, New York, New York. 1993 – Akira Ikeda Gallery, Tokyo, Japan. Akira Ikeda Gallery, Taura, Japan. 1992 – Yellow and Blue Louvre Floor – A Project, Galerie Thaddaeus Ropac, Paris, France; Leo Castelli Gallery, New York, New York. 1991 – Multiples, Pace / MacGill Gallery (in cooperation with Leo Castelli), New York, New York. 1990 – Fred Hoffman Gallery, Santa Monica, California. Mario Diacono Gallery, Boston, Massachusetts. Stux Gallery, New York, New York. Galerie Antoine Candau, Paris, France. 1989 – Akira Ikeda Gallery, Tokyo, Japan. Anne Frank Group, Leo Castelli Gallery & Stux Gallery, New York, New York. 63

1988 – Stux Gallery, New York, New York. Leo Castelli Gallery, New York, New York. 1987 – Stux Gallery, Boston, Massachusetts. 1986 – Stux Gallery, New York, New York. 1985 – Stux Gallery, Boston, Massachusetts. SELECTED GROUP EXHIBITIONS 2016 – Narrative/Collaborative, Galerie Lelong, New York, NY; Takashi Murakami’s Superflat Collection — From Shōhaku and Rosanjin to Anselm Kiefer, Yokohama Art Museum, Japan; Photography and Film Constructs, The Galleries of Ringling College of Art and Design, Sarasota, FL. 2015 – Mike + Doug Starn: Structure of Thought, Wetterling Gallery, Stockholm, Sweden; Recent Acquisitions, Boston Museum of Fine Arts, Boston, MA. 2013 – Recent Works by Diana Kingsley, Robert Morris, Richard Pettibone, Mike and Doug Starn and Keith Sonnier, Castelli Gallery, New York, NY. 2012-13 – MCA Chicago, Walker Art Center Minneapolis and ICA Boston, This Will Have Been: Art, Love & Politics in the 1980s. 2010 –Big Bambú, Castelli Gallery, New York, NY.; Deep Woods: Emi Fukuzawa, Diana Kingsley, Mike and Doug Starn, Castelli Gallery, New York, NY. 2009 – Signs of the Apocalypse/ Rapture, Hyde Park Art Center, Chicago, IL; NASA/ART: 50 Years of Exploration, Art League of Bonita Springs, Bonita Springs, Florida (traveling exhibition). 2008 – Teleport Färgfabriken, Färgfabriken Norr, Östersund, Sweden; Metamorphosis, Abington Art Center, Jenkintown, PA. 2006 –The Victoria and Albert

Museum, London, England; Eretica: L’arte contemporanea dalla trascedenza al profano, Palazzo di Sant’Anna, Palermo, Italy; Out of Line: Drawings from the Collection of Sherry and Joel Mallin, Herbert F. Johnson Museum of Art, Ithaca, New York; New York, New York, Grimaldi Forum, Principality of Monaco, Monte Carlo; The Missing Peace: Artists Consider the Dalai Lama, UCLA Fowler Museum of Cultural History, Los Angeles, CA (traveling exhibition); Family Affairs, Palais des Beaux-Arts, Brussels, Belgium; Picturing Eden, Eastman House, Rochester, NY. 2005 – Künstlerbrüder, Haus der Kunst, Munich, Germany. IMPAKT, Melbourne, Australia. 2004 – Pieced Together: Photomontage from the Collection, The Art Institute of Chicago, Chicago, IL; Recent Acquisitions, Wadsworth Athenaeum Museum of Art, Hartford, CT. Open House: Working in Brooklyn, Brooklyn Museum of Art, Brooklyn, NY. 2003 – Both Sides of the Street: Celebrating the Corcoran’s Photography Collection, The Corcoran Museum of Art, Washington, D.C. How Human, Life in the Post Genome Era, International Center of Photography, New York, NY. 2002-03 – PhotoGENEsis: Opus 2, Santa Barbara Museum of Art. Within Reach: Hope for the Global AIDS Epidemic, International Tour. 2002 – Portraits of the Art World: 100 Years of ARTnews, National Portrait Gallery of the Smithsonian Institution, Washington, D.C.; Visions from America, The Whitney Museum of American Art, New York, NY. 2001 – Ramparts Café, The Jewish Museum, New York, NY. GANJIN, Photo Museum, Ebisu, Tokyo, Japan. 2000 – Permanent Collection, Museum of Fine Arts, Boston, MA. 1999 – Musique en Scène, Musée Art

Contemporain, Lyon, France. 1998-00 – Inner Eye: Contemporary Art from the Marc and Livia Strauss Collection (traveling exhibition). 1996 – Eternal Dialogue, Tower of David Museum, Jerusalem, Israel. 1995-96 – Biennale d’Art Contemporain, Musée Art Contemporain, Lyon, France. 1994 – 30 Years - Art in the Present Tense: The Aldrich’s Curatorial History 1964-94, The Aldrich Museum of Contemporary Art, Ridgefield, CT. Lessons in Life - Photographic Work from the Boardroom Collection, The Art Institute of Chicago, Chicago, IL. Myths and Mysticism, Gotlands Konst Museum, Visby, Sweden. 1993 – Recent Acquisitions, The Museum of Modern Art, New York. Image Makers, Nassau County Museum of Art, Roslyn, New York (curated by Franklin Hill Perrel). The Alternative Eye: Photo Art for the 90’s, Southern Alleghenies Museum of Art, Loretto, PA. 1992 – Team Spirit, a traveling exhibition organized by Independent Curators International (Susan Sollins and Nina Sundell), New York, NY. Regeneration: Hannah Collins, Mike & Doug Starn, The Power Plant, Toronto, Canada (curated by Richard Rhodes). Quotations, The Aldrich Museum of Contemporary Art, Ridgefield, CT; traveled to: Museum of Contemporary Art, Dayton, OH. Betrayal of Means – Means of Betrayal (Contemporary Art and the Photographic Experience), (traveling exhibition). Allegories of Modernism, Museum of Modern Art, New York, New York. Lumo 92, Alvar Aalto Museo, Jyvaskyla, Finland. 1991 – Transparenz / Transzendenz, Ludwig Forum, Aachen, Germany. Anninovanta, Gallerie Communale d’Arte Moderna, Bologna, Italy. Boston Now: 10th Anniversary Exhibition, Institute of Contemporary Art, Boston,

MA. Metropolis, Martin Gropius Bau, Berlin, Germany. 1990 – International Center for Photography, New York, NY. To Be or Not to Be, Centre d’Art Santa Monica, Barcelona, Spain. Recent Acquisitions, The Israel Museum, Jerusalem, Israel. With the Grain: Contemporary Panel Painting, The Whitney Museum of American Art at Fairfield County, Stamford, CT. On the Edge of Sculpture and Photography, Cleveland Center for Contemporary Art, Cincinnati, OH. Images in Transition – Photographic Works of the 80’s, National Museum of Modern Art, Kyoto and Tokyo, Japan. Beyond the Photographic Frame, ATM Contemporary Art Gallery, Mito, Japan. 1989 – L’Invention d’un art, Centre Georges Pompidou, Paris, France (curated by A. Sayag and J. C. Lemagny). Invention and Continuity in Contemporary Photography, traveled to: The Metropolitan Museum of Art, New York, New York; the Baltimore Museum of Art, Baltimore, Maryland; the Wadsworth Athenaeum, Hartford, Connecticut. Selections from the Collection of Marc and Livia Straus, The Aldrich Museum of Contemporary Art, Ridgefield, CT. The Photography of Invention: American Pictures of the 1980’s, (curated by Joshua Smith and Merry A. Foresta), traveled to: The National Museum of American Art, Smithsonian Institution, Washington, D.C.; Museum of Contemporary Art, Chicago, IL; Walker Center for the Arts, Minneapolis, MN. Wiener Diwan: Sigmund Freud Heute, Museum des 20 Jarhunderts, Vienna, Austria. Photography Now, Victoria and Albert Museum, London, England (curated by Mark Haworth-Booth). Art at the End of the Social, The Rooseum, Malmö, Sweden (curated by Collins and Milazzo). Art of Our Time, The Saatchi Collection, London, England. 2 to Tango, International Center for

Photography, New York, NY. 1988 – Binational: American Art of the Late 80’s, traveled through 1990 to: Museum of Fine Arts and Institute of Contemporary Arts, Boston, MA; Stadtische Kunsthalle & Kunstammulung NordrheinWestfalen, Düsseldorf, Germany; Tel Aviv Museum of Art, Tel Aviv, Israel; the National Gallery of Greece, Athens, Greece; Art Museum of the Athenaeum, Helsinki, Finland; the National Gallery of Art, Warsaw, Poland. First Person Singular: SelfPortrait Photography, 1840-1987, High Museum of Art, Atlanta, GE. 1987 – Whitney Biennial, The Whitney Museum of American Art, New York, NY. The New Romantic Landscape, The Whitney Museum of American Art at Fairfield County, Stamford, CT. Portrayals, International Center for Photography, New York, New York. San Francisco Cameraworks, San Francisco, CA. Post Abstract Abstraction, The Aldrich Museum of Contemporary Art, Ridgefield, CT (curated by E. Schwartz). The Big Picture: The New Photography, John and Mable Ringling Museum of Art, Sarasota, FL. 1986 – The Joe Masheck Collection of Contemporary Art, Rose Art Museum, Brandeis University, Waltham, MA. 1985 – Boston Now: Photography, Institute of Contemporary Art, Boston, MA. New Work from New York, Carpenter Center for the Visual Arts, Cambridge, MA (curated by Joseph Masheck).The Museum School Traveling Scholars Exhibition, Museum of Fine Arts, Boston, MA.

The Chicago Art Institute, Chicago, IL. The Corcoran Gallery of Washington D.C. Fondación Sorigue, Lleida, Spain. The Solomon R. Guggenheim Museum, New York, NY. The High Museum of Art, Atlanta, GA. The Israel Museum, Jerusalem, Israel. The Jewish Museum, New York, NY. The Los Angeles County Museum of Art, Los Angeles, CA. La Maison Européenne de la Photographie, Paris, France. The Metropolitan Museum of Art, New York, NY. The Minneapolis Institute of Art, Minneapolis, MN. The Mito Arts Center, Mito, Japan. Museum of Contemporary Art, Los Angeles, CA. Museum of Contemporary Photography, Columbia College, Chicago, IL. Museum of Fine Arts, Boston, MA. Museum of Fine Arts, Houston, TX. Museum of Modern Art, New York, NY. National Gallery of Victoria, Melbourne, Australia. National Museum of Contemporary Art, Seoul, South Korea. The Philadelphia Museum of Art, Philadelphia, PA. The John and Mable Ringling Museum, Sarasota, FL. Naoshima Contemporary Art Museum, Japan. Obihiro Museum of Art, Obihiro, Japan. The Portland Museum of Art, Portland, OR. Rose Art Museum, Brandeis University, Waltham, MA. The San Francisco Museum of Modern Art, San Francisco, CA. The Tokushima Modern Art Museum, Tokushima, Japan. The UCLA Hammer Museum, Los Angeles, CA. The Wadsworth Athenaeum, Hartford, CT. The Whitney Museum of American Art, New York, NY. Yokohama Museum of Art, Yokohama, Japan.

SELECTED MUSEUM COLLECTIONS

AWARDS & PUBLIC COMMISSIONS

The Brooklyn Museum of Art, Brooklyn, NY. Bibliothèque nationale de France, Paris, France. The Cincinnati Art Museum, Cincinnati, OH.

Permanent Big Bambú installation, Ordrupgaard sculpture park, Charlottenlund, Denmark (installation due 2018). Permanent installation

for the façade of the Embassy of the United States, Moscow (a monumental glass installation due summer 2017). The Strange Loop You Are: permanent Big Bambú installation, The Israel Museum Jerusalem, Israel (2015); (any) Body Oddly Propped, an overall 18’ tall x 45’ across x 15’ deep glass and metal permanent installation, The Princeton University Art Museum, Princeton, NJ (2015); 2009 Brendan Gill Prize recipient, See it split, see it change: permanent installation commissioned by the Arts for Transit program of the Metropolitan Transportation Authority (New York City) for the South Ferry Subway Terminal, an approximately 9 feet high x 300 feet long glass, stone-mosaic and metal installation. The Medal Award, School of the Museum of Fine Arts (2000). National Endowment for the Arts, Grants (1987, and 1995). International Center for Photography’s Infinity Award for Fine Art Photography (1992). Massachusetts Council on the Arts, Fellowship in Photography (1986). Fifth Year Traveling Scholarship (1985) MONOGRAPHIC BIBLIOGRAPHY Gravity of Light, texts by James Crump, Jan Åman and Doug and Mike Starn, Rizzoli, 2012; To Find God Not The Devil’s Insides, essay by Martin Barnes, The Print Center Philadelphia, 2007; alleverythingthatisyou, poem by Vincent Katz, Baldwin Gallery, 2006; Attracted to Light, Texts by Victor Pelevin, Demetrio Paparoni, Vladimir Nabokov and Doug & Mike Starn, a Blind Spot book published by powerHouse, 2003; Doug and Mike Starn, Introduction by Robert Rosenblum and essay by Andy Grundberg— Abrams, 1990.

MAYA FRODEMAN GALLERY 66 SOUTH GLENWOOD STREET JACKSON HOLE, WYOMING TEL 307 733 0555

This catalog complements Doug and Mike Starn’s Exhibition UNDER THE SKY Maya Frodeman Gallery 19 December 2025 - 09 February 2026

All images courtesy of Doug and Mike Starn

MAYA FRODEMAN GALLERY