Jen Liu

My work starts with research-based fictions built around a single proposition: how can we solve problems that seem to have no solution?  Most of these problems are fundamentally social/cultural, but take on many material, economic, and political forms, which on first glance may seem minor.  An example of this would be the inflationary price of beef in China: while of minor general interest, further inquiry reveals a portrait of the various everyday impacts of increasing resource depletion, and the deferment of local solutions rewriting patterns of global trade.

Given such problems, I fabricate solutions full of best-guess predictions and expected trends, bound together by the prevailing logics of neoliberalism, such as efficiency and the continuity of historical tendencies.  However, I commit to seeing these logic system to their extreme: not settling for vague amelioration – some mere “better” – but seeking a state of 100% resolution.  Conditions become long-winded, labyrinthine in their continued attempt to solve what cannot be solved.  And when neoliberalism’s logic becomes distended and baroque, it reveals its core inability to deliver harmony or resolution.

However, these speculative solutions are not wholly about futility: the work is also about unexpected moments of beauty, possibilities that rise out of great duress, and deep understanding beyond everyday abstractions and master narratives.  I cut together multiple lines of archival visual and textual research in the attempt to find these truths: from industrial, trade, and theoretical materials – through to grassroots self-publications, cartoons, minor consumer design, forgotten stage performances, songs, and people.

I embrace the idea of materialism-in-reverse, as an approach to social analysis that embeds it in exaggeratedly tangible forms: images, objects, props, and costumes that can accessed emotionally and through the senses.  It is about deflating traditional leftist approaches to such topics as labor and industry, reconnecting these serious concerns with elements usually reserved for entertainment or visual pleasure alone.  Pop tropes bump up against the technical, jingoism meets scientific opacity, and they all link together to crack open conventions and reveal the latent poetry within them all.

In my current body of work, Pink Slime Caesar Shift, I look at China’s beef shortage through speculative biotechnology, and the possibilities for social resistance through genetic hacking.  The hamburger patty is a banal and infinitely replicable symbol in which cultural memory, covert political resistance, cryptography, scientific reproduction, and the history of female programmers and languages converge. It is not just about China, or meat as a cultural symbol.  This is about the social-productive possibilities of re-appropriating technologies, whether it is the technologies of genetic engineering, or the technologies of narrative mythology.

In addition to video (live action and 3D animation), biological samples embedded in wearable editions (jewelry and other physical enhancement tools), and choreography expanding on the wearables, I continue to work on a series of Pink Slime Caesar Shift Paintings.  These paintings are containers for research: making meaning out of information detritus, consequence out of orphaned data.  They are an inquiry into the rising dominance of women in the working world in general, and the factory setting specifically.  They depict a series of large feminine fingers pushing and prodding, those masters of manufacture in today’s automated workflow and swipe-right existence – while they also explore the desire to be seen and not seen at the same time, faces arising from unexpected forms and just eliding view.

 Education

2003 – 2005   De Ateliers, Amsterdam, The Netherlands.

1999 – 2001   MFA Fine Arts and Integrated Media, California Institute of the Arts, Valencia, California.

1994 – 1998   BA Creative Writing, BA Studio Art High Honors, Oberlin College, Oberlin Ohio.

 

 Select Exhibitions 

Solo, Duo, and Commissions

2019    PINK SLIME CAESAR SHIFT: GOLD EDITION, commissioned choreographic performance and solo

installation at Asian Civilizations Museum, curated by Renan Laru-an, Singapore Biennale 2019.

PINK SLIME CAESAR SHIFT: GOLD EDITION, solo commissioned video, curated by Christina Milllare as part of AMERICAN EXPORT, produced in collaboration with Grand Union (Birmingham), CREAM (U of Westminster, London), and Milennium Point (Birmingham).

 

2018    PINK SLIME CAESAR SHIFT, Upstream Gallery, Amsterdam, NL. 

 

2017    The Red Detachment: Bai Wei’s Natural History­, solo commission by OK.Video/ruangruppa, Bogor Zoology Museum, Bogor, Indonesia.

 

2016    Digital Billboard Platform: Jen Liu’s The Pink Detachment, LAXART, Los Angeles, CA.

The Red Detachment of Women: Online, commissioned by Triple Canopy as part of the Standards issue.

The Pink Detachment, SomoS, Berlin.

 

2015    The Red Detachment of Women: Performance for 6 Dancers, co-commissioned by Triple Canopy and The Whitney Museum, Whitney Museum, New York, NY.

 

2014    The Managers, Upstream Gallery, Amsterdam, NL.

SAFETY FIRST, Mallorca Landings, Palma de Mallorca, ES.

Come One Come All (permanent commission), Citizen M Times Square, New York, NY. 

 

2013    Melon Mysticism for Everyone. Commissioned by ISCP in collaboration with NYC DOT and ISCP, Manhattan Bridge, NY. 

 

2012    Initial Public Offering, Space of Drawings, Copenhagen, Denmark.

 

2011    Six Colorful Stories: John Baldessari, Jen Liu.  Ceri Hand Gallery, Liverpool, UK.

 

2010    Brody Condon, Jen Liu, On Stellar Rays, New York.

Volta NY Art Fair, solo booth (Ceri Hand Gallery).

 

2009    The Last Alphabet / Pasta Belt Health, Upstream Gallery, Amsterdam, NL. 

 

2008    Insurrection for a Million or One, Upstream Gallery, Amsterdam, NL.

            Drastic Measures, Unknown Pleasures, Ceri Hand Gallery, Liverpool, UK.

 

2007    An Innocent Revolution, DePauw University, Greencastle, IN.

New Dawn Fades, Lizabeth Oliveria Gallery, Los Angeles.

DM.0086: A Local Map of Broken Glass, Division Museum of Ceramics and Glassware, New York, in collaboration with Barb Choit.

 

2006    Rotterdam Art Fair, solo booth (Upstream Gallery).

 

2005    The Last Four Seasons, Upstream Gallery, Amsterdam, The Netherlands.

Ready To Die!, Lizabeth Oliveria Gallery, Los Angeles. 

SoFriends Electric!: Jen Liu, Andrea Thal, Binz39 Foundation, Zurich.

Videos van Jen Liu, Melkweg Media, Amsterdam, The Netherlands.

 

2004     Jen Liu, Folkert de Jong, Upstream Gallery, Amsterdam.

 

 Group, Performances, and Screenings 

2019    Modern Mondays: Jen Liu, MOMA, New York.
Jen Liu, Joanna Piotrowska, Jesse Wine, Simone Subal Gallery, New York.
Trouble in Paradise, Kunsthal Rotterdam.
Feast and Famine, Paul Robeson Galleries, Rutgers University, NJ.

After Party, Times Museum Guangzhou, China.

Migration Narratives, Asia Cultural Center, Gwangju, Korea.  

2018    NEW/NOW, Philbrook Museum, Tulsa, OK. 

A Mechanism Capable of Changing Itself: Berlinale Forum Expanded Exhibition, Berlin, DE.

Meeting the Universe Halfway, KIT Museum, Duesseldorf, DE.

Sick Time, Sleepy Time, Crip Time: Part II, curated by Taraneh Fazeli, Bemis Center for Contemporary Arts, Omaha, NE.  Traveling to The Luminary, St Louis, MO.

Laugh Back, Smack Mellon, Brooklyn.

Jubilation Inflation: Tamar Ettun, UNLV Museum, Las Vegas.

As If, Provisional Gallery, San Francisco, CA.

Carpe Diem Feast, Ullens Center for Contemporary Art, Beijing.

Outside the Palace of Heavenly Purity, bitforms gallery, New York, NY.

Shen Xin and Jen Liu (screening/discussion), Asia Art Archive, Brooklyn, NY.

On Propaganda: Jen Liu and Mariam Ghani, Asia Art Archive, Brooklyn, NY.

2017    After Party, curated by Leo Li Chen, Blindspot Gallery, Hong Kong.
Soft Skills, James Gallery at CUNY Graduate Center, curated by Kaegan Sparks, New York, NY.
The Visible Hand, CUE Art Foundation, New York, NY.
Sick Time, Sleepy Time, Crip Time, curated by Taraneh Fazeli, EFA, New York, NY.
  1. Video, curated by Renan Laru-an and Julia Sarisetiati in coordination with ruangrupa, Jakarta, Indonesia.

Warp and Weft screening: Sondra Perry and Jen Liu, Lawndale Arts Center, Houston, TX.

Glitch Girls: Jen Liu with Aliza Shvarts (solo screening and conversation), James Gallery at CUNY Graduate Center, New York, NY.

COMM | ALT | SHIFT, curated by Larry Ossei-Mensah and Dexter Wimberley, Aljira, Newark, NJ.

 
2016    WE ARE NOT THINGS, curated by Hannah Whitaker, Invisible Exports, New York, NY.

Traversing the Phantasm, Berlinale Forum Expanded exhibition, Akademie der Kunst, Berlin, DE. 

Public Spirits, CCA Warsaw, Warsaw, Poland.

Exhibition, September Gallery, Hudson, NY.

Color Visions, Videoforma Festival IV (exhibition section), Kuryokhin Center for Modern Art, St. Petersburg, Russia. 
Hybrid Visions, curated by Jens Geiger as part of China Time 2016, Metropolis Kino, Hamburg, DE.
Art Dubai Film, Dubai, UAE. 

Jen Liu (solo screening), Fundacja Nosna at Henryk, Krakow, Poland. 

Utopia Is No Place, Utopia is Process, curated by Jacqueline Mabey, USDAN Gallery, Bennington College, VT. 

Jen Liu, Attaque(e)r le visible at La Mutinerie, Paris, FR. 

 
2015    Berlinale Forum Expanded, curated by Stephanie Schulte Strathaus, Anselm Franke, and Uli Ziemons, Academy of Arts, Berlin, DE. 
Film Montage, Coreana Museum of Art, Seoul, Korea. 
Screening the Speculative: Melika Bass, Jen Liu, and Peter Hopkins Miller, New Museum, New York, NY. 
The Ism That Dares Speak Its Name, PARMER at Abrons Art Center, New York, NY.
Socialism, Really?  Momenta Art, Brooklyn, NY.

The Cost of Wealth, a project of Jubilee and Goethe-Institut in collaboration with CINEMATEK, Argos and deBuren, Brussels, BE.  

Transformer, Upstream Gallery, Amsterdam, NL. 

Poet Transmit (performance), curated by Victoria Keddie and Cat Tyc, St Marks Church, New York.

2014    Shanghai Biennale, curated by Anselm Franke, Cosmin Costinas, and Freya Chou, Shanghai, China.
Unto Void Fulfills This Place, das weisse haus, Vienna, Austria. 

Monsanto Shadow Symposium (performance), Radical Archives CFP, NYU A/P/A Institute, NY. 

Ready-To-Hand, Sunview Luncheonette, Brooklyn, NY. 

 
2013    Salon der Angst, Kunsthalle Wien, Vienna, Austria. 

Only Dead Fish, Upstream Gallery / Lloyd Hotel, Amsterdam, NL.

Hold This Object Up Until There is Nothing Left of You, Modern Edinburgh Film School, Scotland.

Implausible Imposters, Ceri Hand Gallery, London. 

I Like the Way You Move, Edinburgh Art Festival, White Space, Edinburgh, Scotland.

Pleasure Paradox, Gallery MK, Milton Keynes, UK. 

Nite Flights, Old Hairdressers, Glasgow, Scotland.

Present and Accounted: ENACT, Performance Art Festival, Cleveland, OH.

The Scenery Changes Three Times: Brian Belott, Matthew Craven, Sara Cwynar, and Jen Liu, Schema Projects, Brooklyn, NY.

Cacotopia, Anthony Burgess Foundation, Manchester, UK.

 
2012    We Are 2-Up, Bowery Poetry Club, curated by Sue Scott Gallery, New York, NY.

Folio (group exhibition and performance), Soloway Gallery, Brooklyn, NY.

Harvest (performance), Antechamber, Copenhagen, DK. 

Reverse Engineering, Paraflows, Vienna, AT.

Bottoms (performance), On Stellar Rays, New York, NY.

Fuel for the Fire, Dawn Kasper + Human Resources LA/NY, New York, NY.

Blink: art, Gwangju, Korea. 

 

2011    Space.  About a Dream. curated by Catherine Hug, Kunsthalle Wien, Vienna, Austria.

            Monodramas / Act 4, curated by NADA for New York City Opera, New York.

            Art Rotterdam Video Hall, curated by Zapp Magazine, Rotterdam, NL. 

Utopian Structures – New Existentialism Part 3, Gebert Stiftung für Kultur, *ALTEFABRIK, Rapperswil-Jona, Switzerland.

Localhost, AZKM Kunsthalle Muenster, Muenster, DE.

Memory of A Hope, Ceri Hand Gallery, Liverpool, UK.

Eslov Wide Shut, curated by Stefan Lundgren, Blomsterberg’s Warehouse, Eslöv, Sweden.

 

2010    You Can Heal Your Life! curated by Emma Gray, Circus Gallery, Los Angeles.

Never Can Say Goodbye: The Way Out, curated by Lauren Rosati for No Longer Empty @ Former Tower Records, New York.

Scope Foundation: “d.i.y. sci-fi”, curated by Zach Layton, Scope Art Show, New York.

Exploitation on Demand, curated by Karin Laansoo, Sparwasser HQ, Berlin, DE.

Jen Liu, Mie Olison, Gurdjieff Players, Issue Project Room, Brooklyn, NY.

36 Dramatic Situations, Louis V E.S.P., Brooklyn, NY.

Malleable Memory, Aicon Gallery, New York.

Upstream Cinema: David Haines, Jeroen Jongeleen, Cristobal Leon and Jen Liu, Upstream Gallery, Amsterdam, NL.

All Things Being Equal, Raritan Valley Community College, Raritan, NJ.

NADA Gala (performance), New York. 

Black Hole Hums in B Flat, Ceri Hand Popup, London.

Fugue State (performance), Dorsche Gallery, Miami, FL.

 

  • Filmsalon: Claudia Kugler, Kunstverein Nurnberg, DE.

Building Paradise, 7+Fig, Los Angeles.

Vision Division­: Olaf Brzeski, Theresa Froelich, and Jen Liu, Czama Gallery, Warsaw, Poland.

NEWAGERIOT, Country Club/Los Angeles.

MONITAUR, Aspen Museum of Art, Aspen, CO.

The Last Session, Flemish Cultural Center, Amsterdam, NL.

 

2008    Agrifashionistas, Royal Academy, London.

NADA Emerging Artists Gala (performance), New York.

Without Sun: Brody Condon, Jen Liu, Avelino Sala, and Adriaan can der Ploeg, Virgil de Voldere Gallery, New York. 

New Collections III, Centre PasquART, Biel/Bienne, Switzerland.

Shifting Identities, (Swiss) Art Now, Kunsthaus Zurich.

The Violet Hour: Matthew Day Jackson, Jen Liu, and David Maljkovic, Henry Art Gallery, Seattle.

The Golden Record, Collective Gallery/Edinburgh Festival, Edinburgh.

 

2007    Dream of Today, curated by Amy Smith-Stewart, Steve Turner Contemporary, Los Angeles.

NADA Art Fair (Upstream Gallery & Lizabeth Oliveria Gallery), Miami, FL.

The Present Order is the Disorder of the Future, De Hallen Museum, curated by Xander Karstens, Haarlem, The Netherlands.

Mind Hacking II, Wewerka Pavilion, Münster, Germany.

Paper Bombs, curated by Bart Exposito, Jack Hanley Gallery, Los Angeles.

M*A*S*H, curated by Amy Smith-Stewart and Omar Lopez-Chahoud, The Helena, New York.

The Return of the Seven Samurai, Galerie Lucy Mackintosh, Lausanne, Switzerland.

 

  • Romer II, Akademie Schloss Solitude Romerstrasse Gallery, Stuttgart, DE.

Flood Lit Wendy House, New York Rio Tokyo Gallery, Berlin.

View (Eleven): Upstate, curated by Amy Smith-Stewart, Mary Boone Gallery, New York.

Liverpool Biennial:Virtual Grizedale, A Foundation, Liverpool, UK. 

Big City Lab, Art Forum Berlin.

Experiments in Pop, curated by Laura Hoptman, Zentrum Paul Klee, Bern, Switzerland. 

Liste Artfair Basel (Upstream Gallery), Basel, Switzerland.

Peekskill Project 2006, Hudson Valley Center for Contemporary Art, Peekskill, NY.

Trial Balloons, Museo de Arte Contemporaneo de Castilla y Leon, Leon, Spain.

Jen Liu + Bjorn Melhus + Claire Rojas, Lizabeth Oliveria Gallery, Los Angeles.

 

  • Carlos Aires / Jen Liu / Melvin Moti / Elodie Pong, Galleria Laurin, Zurich, Switzerland,

Explosive Compulsive: Reed Anderson, Adrianne Colburn & Jen Liu, Luggage Store Gallery, San Francisco.

Futurism, Melkweg, Amsterdam, The Netherlands.

Fast Forward: A Passion for the New, curated by Scenic in affiliation with MOCA LA, House of Campari, Venice, CA.

Videonale 10, Kunstmuseum Bonn, Germany. 

 

2004    100 Artists See God, Institute of Contemporary Art, London.  curated by John Baldessari and Meg Cranston.

Biennale Bonn: New York State of Mind, Bonn, Germany. 

Through the Gates: Brown vs. Board of Education, California African American Museum, Los Angeles.

Futureways: The Middelburg Triennial 2304, curated by Rita McBride, Glen Rubsamen, and Rutger Wolfson, de Vleeshal, Middelburg, The Netherlands.

 

Prizes + Awards

 

2019               Creative Capital Award

2018               LACMA Art + Tech Lab grant

Baker Tilly Award

2017               Guggenheim Fellowship, Film/Video

NYFA/NYSCA Gregory Millard Fellowship, Digital/Electronic Media

2008               Pollock-Krasner Grant.

 

 Residencies + Fellowships 

 

2019               Swatch Art Hotel AIR, Shanghai, China.

2018               Pioneer Works Residency, Brooklyn, NY.

2017               Tulsa Artist Fellowship, Tulsa, OK. 

2016               Para Site AIR, Hong Kong. 

                       LMCC Process Space Governor’s Island, New York.

2012               Quartier 21, Vienna, Austria.

2011               Krems AIR, Krems, Austria.

2008 / 2009   ISCP, New York.

2006               Akademie Schloss Solitude, Stuttgart, Germany.

Sommerakademie im Zentrum Paul Klee, Bern, Switzerland.

2005               Grizedale Arts, Cumbria, England.

 

Publications

Trouble in Paradise, Kunsthal Rotterdam, 2019.

The Visible Hand: Curated by David Borgonjon, CUE Art Foundation, 2017.  https://issuu.com/cueart/docs/cue_the_visible_hand_catalogue

Public Spirits, CCA Ujazdowski Castle, Warsaw, Poland, 2016.

10th Shanghai Biennale: Social Factory, Power Station of Art, Shanghai, China, 2014. 

Reverse Engineering, Paraflows, Vienna, Austria, 2012. 

Eslov Wide Shut, Eslöv, Sweden, 2011.

Space.  About a Dream. Kunsthalle Wien, Vienna, Austria, 2011.

VOLTA NY 2010 Artists’ Book, VOLTA, New York, 2010.  

The Last Session, Flemish Cultural Center, Amsterdam, NL, 2009. 

The Violet Hour: Matthew Day Jackson / Jen Liu / David Maljkovic, Henry Art Gallery, Seattle, WA, 2008.

An Innocent Revolution, Depauw University, Indiana, 2007.

“PROP” Proud to be a V.I.P., Nueans, Duesseldorf, Germany, 2007.

Sommerakademie 2006 im Zentrum Paul Klee: Experiments in Pop, Zentrum Paul Klee, Bern, Switzerland, 2006.

Globos Sondas, Museo de Arte Contemporaneo de Castilla y Leon, Leon, Spain, 2006.

Art Forum Berlin: Big City Lab, 2006.

Videonale 10.  Kunstmuseum Bonn, Bonn Germany, 2005.

Friends Electric!  Binz39 Foundation, Zurich, Switzerland, 2005.

100 Artists See God.  Independent Curators International (ICI), New York, 2004, p 14, illus.

Futureways.  Printed Matter, Inc., and Whitney Museum of American Art, 2003, p 64, illus. 

Cyberfem Spirit: Spirit of Data.  Helen von Oldenburg and Rosanne Altstatt (eds.), Edith-Russ-Haus fur Medienkunst, Oldenburg, pp 30-33, illus. 

 

 Selected Bibliography 

Hawley, Anthony.  “13th Forum Expanded Exhibition: A Mechanism Capable of Changing Itself.”  Brooklyn Rail, September 4, 2018.  https://brooklynrail.org/2018/09/artseen/13th-Forum-Expanded-Exhibition-A-Mechanism-Capable-of-Changing-Itself

Reiger, Birgit.  “Im Grenzbereich con Kunst und Kino,” Tagesspiegel, February 17, 2018.

http://www.tagesspiegel.de/kultur/forum-expanded-der-berlinale-im-grenzbereich-von-kunst-und-kino/20972222.html

Pett, Inge.  “Forum Expanded: A Mechanism Capable of Changing Itself,” Art in Berlin, February 16, 2018.

http://www.art-in-berlin.de/incbmeld.php?id=4550

Genhart, Irene.  “Berlinale: Forum Expanded,” Filmdienst, February 16, 2018.

https://www.filmdienst.de/artikel/1083/berlinale-forum-expanded#kritik

Hinrichsen, Jens.  “Berlinale Calling,” Monopol Magazine, February 14, 2018.

https://www.monopol-magazin.de/berlinale-calling-vorschau-2018

Valinsky, Rachel.  “The Visible Hand,” Art21 Magazine, May/June 2017.  http://magazine.art21.org/2017/01/20/the-visible-hand/

Anania, Katie.  “ArtForum Critic’s Picks: “Sick Time, Sleepy Time, Crip Time: Against Capitalism’s Temporal Bullying,”” https://www.artforum.com/picks/id=68096

Clements, Alexis.  “How Art Making Is a Type of Management,” Hyperallergic, February 6, 2017.  https://hyperallergic.com/356017/how-art-making-is-a-type-of-management/

Coombs, Gretchen.  “The Visible Hand at CUE Art Foundation,” Temporary Art Review, April 20, 2017.  http://temporaryartreview.com/the-visible-hand-at-cue-art-foundation/

Hong, Cathy Park.  “Artists and Identity,” ArtForum, Summer 2016.
https://www.artforum.com/inprint/issue=201606&id=60096

Weinstein, Matthew.  “Machine Dreams and Painting’s Extremes: Matthew Weinstein on Jonathan Lasker and Jen Liu,” ARTNEWS, March 10, 2016.  http://www.artnews.com/2016/03/10/machine-dreams-and-paintings-extremes-matthew-weinstein-on-jonathan-lasker-and-jen-liu/

Kang Kang, “Really, Socialism?!”  Yishu Magazine, March/April 2016.  http://yishu-online.com/browse-articles/?832

Steinbruegge, Bettina.  “Rueckblick: Berlinale 2016 – Von Phantasmen, Haltungen und Erfahrungen,” Spike Art Magazine, February 21, 2016.  http://www.spikeartmagazine.com/de/artikel/rueckblick-berlinale-2016

“Dansende Arbeiders in kartonnen dozen,” NRC Handelsblad, October 23, 2014. 

“Jen Liu, Initial Public Offering 0000: SOD,” New Danish Art, Copenhagen, DK, 2013.

Dawson, Kelly Chung, “Chinese Art Goes Public in NYC,” China Daily USA, August 2, 2013.

[Chinese language interview], World Journal, July 11, 2013. 

Sky Sherwin and Robert Clark, “Exhibitionist: This Week’s Art Shows in Pictures,” The Guardian, September 16. 2011. http://www.theguardian.com/artanddesign/gallery/2011/sep/17/exhibitionist-art-shows-in-pictures#/?picture=379075208&index=6

David, Laura, “New York Based Artist Jen Liu…” Liverpool Daily Post, September 13, 2011.

Gerhard H. Kock, “Weltweit daheim und unterwegs,” Borkener Zeitung, June 1 2011.

Sabine Muller, “Kolsche Sudesee-Traume,” Rurh Nachrichten.de, June 6, 2011

Hallett, Nick, “BOMBLOG: A Night At the Opera,” Bomb Magazine (online), April 5, 2011.

“Weltraum. Die Kunst und ein Traum,” ZDF, broadcast April 9, 2011.

“Weltraum. Die Kunst und ein Traum,” Dradio, broadcast April 4, 2011. 

Davis, Kim, “High Brow on the Lower East Side,” The Big Apple Magazine, January 2011. 

Carlin, T.J., “Brody Condon & Jen Liu,” Art Review, January and February 2011. 

Patrick Gantert, “Brody Condon and Jen Liu…” wowhuh.com, February 7, 2011. 

Chayka, Kyle, “Two Kinds of Abstraction At On Stellar Rays,” Hyperallergic, December 6, 2010.

Fee, Brian,  “3×300: Jen Liu, Christiana Soulou, and Paul Lee.”  NY Art Beat, November 19, 2010. http://www.nyartbeat.com/nyablog/2010/11/3×300-jen-liu-christiana-soulou-and-paul-lee/

“Klaus Part 2 Volta and Armory New York March 2010.” http://www.fadwebsite.com/2010/03/08/klaus-part-2-volta-new-york-march-2010/

“Five Questions for….Jen Liu”, MetroLife UK, October 29, 2008.

“Artwork of the Week – Jen Liu”, Liverpool Art and Culture, November, 2008.

“we”, Catherine Wagley, Artslant, July 21, 2008

“ArtCal Pick: Without Sun”, artcal.net, July 2, 2008.

Regina Hackett, “Jen Liu and a Group of Rising Artists Move Out of the Art World’s Daze”, Seattle P-I, June 28, 2008.

Graves, Jen.  “The Lunatic is on the Grass.” The Stranger, August 28, 2008. 

Graves, Jen.  “Artists of the Apocalypse Speak.”  In/Visible, The Stranger Podcasts, June 25, 2008.

Gray, Emma.  “Jen Liu at Lizabeth Oliveria Gallery, LA.”  Saatchi Online, November 10, 2007.

“Top 10 Shows in Los Angeles This Month”, Saatchi Online, November 3, 2007.

“L.A. Confidential,” Emma Baker.  Artnet­, May 19, 2006. http://www.artnet.com/magazineus/reviews/gray/gray5-19- 06.asp

“Review: Globos Sondas” Max Andrews. Frieze Online.  2006. 

Colin Berry, “Explosive Compulsive at the Luggage Store.” Artweek, February 2006.  p13-14, illus.

“Focus Los Angeles: Jen Liu.”  Flash Art, January-February 2006, p.72, illus. 

“Who Are These People Showing So Much, And Why Do They Feel The Need To Be Seen?”  Kenneth Baker.  San Francisco Chronicle, January 7, 2006.

Hiya Swanhuyser, “Explosive ‘Compulsive’.” San Francisco Weekly, December 8, 2005, illus.

“20 Bright Young Things: Jen Liu.” ArtReview, December 2005, illus.

Christopher Miles, “Jen Liu at Lizabeth Oliveria Gallery,” Artforum, September 2005, p. 312.

Shana Nys Dambrot, “Jen Liu at Lizabeth Oliveria Gallery,” Artweek, June 2005, Volume 36, Issue 5, pg. 17,(cover image: detail of “Light as Air, Light As Love: Diamonds of the Earth”).

Knight, Christopher.  “A Harsh Yet Enchanting World,” Los Angeles Times, May 6, 2005. 

“A Powerful Atmosphere for New Ideas,” Los Angeles Times, February 9, 2004. 

“Toekomst werpt licht op heden,” Provinciale Zeewuse Courant, The Netherlands, January 30, 2004.