Columbia University, New York, M.F.A.

School of the Visual Arts, New York, B.F.A.

Tompkins Cortland Community College.

(C) denotes that a catalogue was published in conjunction with the exhibition.

The Bees Made Honey in the Lion's Skull (2005-2023), BPS22, Charleroi, Belgium

Team Gallery, New York, USA.

Gladstone Gallery, New York, NY, USA

Blum & Poe, Los Angeles, USA.

Gladstone Gallery, New York, USA.

drawings, Team Gallery, New York, USA.
La Conservera, Centro de Arte Contemporáneo, Murcia, Spain. (C).
Museum Dhont-Dhaenens, Deurle, Belgium.

Maureen Paley, London, UK
Galerie Rodolphe Janssen, Brussels, Belgium.
Focus: Banks Violette, Museum of Modern Art, Fort Worth, Texas, USA.

Gladstone Gallery and Team Gallery, New York, USA.
Bergen Kunsthall, Bergen, Norway.
Galerie Thaddaeus Ropac, Salzburg, Austria (C).

Standard, Oslo, Norway.
Maureen Paley, London, UK.

on black wings / six-channel bleed, Galerie Rodolphe Janssen, Brussels, Belgium (C).
Untitled, The Whitney Museum of American Art, New York, USA (C).

Arroyo Grande, 7.22.95, Team Gallery, New York, USA.

Oscar Tuazon and Banks Violette (collection display), Migros Museum für Gegenwartskunst, Zurich, Switzerland

gallery.sora, Tokyo, Japan (with Gardar Eide Einarsson), (C).

Mitchell Algus Gallery, New York, USA (with Walter Redinger).

MW Projects, London, UK (with Nigel Shafran).
Penteholocaust / The Sixty-Sided Stone of the Androgyne, Peres Projects, Los Angeles, USA (with Matt Greene).

An Enquiry into those Kinds of Distress which excite agreeable Sensations (1773): Slater Bradley & Banks Violette, Team Gallery, New York, USA.

(C) denotes that a catalogue was published in conjunction with the exhibition.

Nine Oils, Francis Irv, New York, USA

Order & Disorder, Rodolphe Janssen, Brussels, Belgium

Recent Acquisitions 2002-2022, Modern Art Museum of Fort Worth, Fort Worth, Texas, USA

I Care Because You Do, The Mass, Tokyo, Japan

Drawing 2020, Gladstone Gallery, New York, NY, USA

Collection on Display: Oscar Tuazon, Banks Violette, Migros Museum für Gegenwartskunst, Zürich, Switzerland

birds, cigarettes, guitars, eyes and trees, Rodolphe Janssen, Brussels, Belgium

Golden Eggs (organized by Alissa Bennett), Team Gallery, New York, USA
Omul Negru, Galeria Nicodim, Bucharest Romania

BLACKOUT, Galerie Rodolphe Janssen, Brussels, Belgium

Old Black (organized by Todd von Ammon), Team Gallery, New York, USA
Altars of Madness (curated by Damien Deroubaix & Jérôme Lefèvre), Casino Luxembourg, Luxembourg
Disaster-The End of Days (curated by Michael Bracewell, with catalog, Galerie Thaddaeus Ropac, Paris, France

Accelerating Toward Apocalypse: Works from the Doron, Givon Art Forum, Tel Aviv, Israel, Sebbag Art Collection, ORS Ltd. (curated by Tal Yahas, traveling to Daimler Contemporary, Berlin, Germany)
Dark Garnaal, Galerie Rodolphe Janssen, Brussels, Belgium

Lustwarande ’11 – Raw, Park De Oude Warande, Tilburg, The Netherlands
Black Swan, Regen Projects, Los Angeles.
Robert Mapplethorpe: Night Work: Curated by Scissor Sisters, Alison Jacques Gallery, London.

Attitude, Initial Access, Wolverhampton, UK.
Kurt, Seattle Art Museum, Seattle, USA.
Self-fulfilling Prophecies, Leo Koenig Inc., New York, USA.
The Library of Babel / In and Out of Place, 176 / Zabludowicz Collection, London.

Elevator to the Gallows (curated by Banks Violette and Gerald Matt), Kunsthalle Wien, Vienna, Austria (travelling to DA2. Domus Artium, Salamanca). (C).
The End (curated by Eric Shiner), The Andy Warhol Museum, Pittsburgh.
New York Minute, Macro Future Museum, Rome, Italy.

GSK Contemporary, Part II: Collision Course, Royal Academy of Art, London, UK.
Sack of Bones, Asia Song Society, New York, USA.
Extra-Light, Point Ephemere, Paris, France.
For what you are about to receive, Gagosian Gallery, Red October Chocolate Factory, Moscow, Russia.
Murder Letters, Galeria Filomena Soares, Lisbon, Portugal.
That was then…This is now, P.S.1, New York, USA.
The Great Transformation-Art and Tactical Magic, Frankfurter Kunstverein, Frankfurt, Germany, (C).

Collection Show, Migros Museum für Gegenwartskunst, Zurich, Switzerland.
Disorder in the House, Vanhaerents Art Collection, Brussels, Belgium.
The Eclectic Eye, Contemporary Art Center, New Orleans, USA..
When We Build Let Us Think That We Build Forever, Baltic Centre for Contemporary Art, Newcastle, UK.
My Sweet Sixteen Party, Galerie Rodolphe Janssen, Brussels, Belgium.
The Shapes of Space, Solomon R. Guggenheim Museum, New York, USA.
U.S.A. Today, The State Hermitage Museum, St. Petersburg, Russia.
Bastard Creature, Palais de Tokyo, Paris, France.
LAST ATTRACTION NEXT EXIT, Max Wigram Temporary Exhibition Space, London, UK.

Cosmic Wonder, Yerba Buena Center for the Arts, San Francisco, USA (curated by Betty Nguyen).
Trial Balloons, MUSAC, Museo de Arte Contemporáneo de Castilla y León, Leon, Spain(curated by Agustin Pérez Rubio, Octavio Zaya, Yuko Hasegawa), (C).
Youth of Today, Schirn Kunsthalle Frankfurt, Frankfurt, Germany.
DARK, Museum Boijmans van Beuningen, Rotterdam, Netherlands.
I Love My Scene: Scene One, Mary Boone, New York, USA.
The Image Is Gone, Galerie Lisa Ruyter, Vienna, Austria.
The Monty Hall Problem, Blum & Poe, Los Angeles, USA.
While Interwoven Echoes Drip into a Hybrid Body, Migros Museum für Gegenwartskunst, Zürich, Switzerland.
U.S.A. Today, Royal Academy, London, UK.

Thank You for the Music, Sprüth Magers Projekte, Münich, Germany.
Blankness is Not a Void, Standard, Oslo, Norway.
Bridge Freezes Before Road, Barbara Gladstone Gallery, New York, USA.
La Beauté de l’Enfer: works on paper, Galerie Rodolphe Janssen, Brussels, Belgium.
Greater New York, P.S.1, New York, USA.
Suburbia, Galerie Lisa Ruyter, Vienna, Austria.

The Black Album, Maureen Paley, London, UK.
The Ice Age, Team Gallery, New York, USA.
Beginning Here: 101 Ways, Visual Arts Gallery, New York, USA.
Art and Illusion: Selections from the Frederick R. Weisman Foundation, Frederick R. Weisman Museum of Art, Pepperdine University, Malibu, USA.
Power, Corruption and Lies, Roth Horowitz, New York, USA.
Noctambule, alternative space, Paris, France (under the auspices of D’Amelio Terras Gallery, New York).
The Whitney Biennial, The Whitney Museum of American Art, New York, USA, (C).
Scream, touring exhibition: Anton Kern Gallery, New York & Moore Space, Miami, USA.

Kult 48 Klubhouse, Deitch Projects, Brooklyn, USA.
Flesh and Blood, Michael Steinberg, New York, USA.
A Matter of Facts, Nicole Klagsbrun Gallery, New York, USA (curated by Clarissa Dalrymple).
Back in Black, Cohan Leslie and Browne, New York, USA.
Melvins, Anton Kern Gallery, New York, USA.
The Return of the Creature (The Continuing Saga of Elementalism, … Conceptual Practice and Romanticism After Robert Smithson, … New Quasi-Cinemas, … and Post-Punk Existentialism), Künstlerhaus Palais Thurn und Taxis Gartnerhaus, Bregenz, Austria.

Dirty Deeds Done Dirt Cheap, Contemporary Arts Center, Atlanta, USA.
Ghost Stories, Sandroni-Rey Gallery, Venice, Los Angeles, USA.
Learned America , P.P.O.W., New York, USA.
Diversity Plus: Emerging Artists in a Rapid World Visual Arts Museum, New York, USA, (C).

Summer with Friends, Team, New York, USA.
Two Friends and So On, Andrew Kreps Gallery, New York, USA.
Columbia University M.F.A. Exhibition, alternative space, Brooklyn, USA.

Rachel Lowther and Banks Violette, Momenta Art, Brooklyn, USA.

Group Show, Visual Arts Gallery, New York, USA.

Group Show Visual Arts Gallery, New York, USA.
MX Group Show, Lower East Side Community Center, New York, USA.

Il Giardino dei Lauri, Museo Civico Diocesano di S. M. dei Servi, Citta della Pieve, Italy

Elevator to the Gallows (curated by Banks Violette and Gerald Matt), Kunsthalle Wien, Vienna, Austria (travelling to DA2. Domus Artium, Salamanca). (C).

MY MIRRORS Are PAINTED BLACK For You, Bortolami Dayan, New York, USA.

Trans-national Monster League, Derek Eller Gallery, New York, USA.

Dear Dead Person, Momenta Art, Brooklyn, USA.

ZERO Neiman Center for Print Sudies, Columbia University, New York, USA.

Fearless Vampire Killer, ABC No Rio, New York, USA.

Rema Hort Mann Foundation Grant

Banks Violette
, Team Gallery and Gladstone Gallery
.
Banks Violette
, Galerie Thaddaeus Ropac
.

Momin, Shamin M., Banks Violette, Whitney Museum of Modern Art.

Needham, Alex, Back with a crash bang: Banks Violette on his wrecked chandelier self-portraits, theguardian.com, 28 November 2023
Moss, Jack, At Celine, artist Banks Violette creates an unexpected play on the festive window, wallpaper.com, 24 November 2023

Silbert, Jake, Metal-Obsessed artist Banks Violette on Dressing Celine's Teddy Boys, highsnobiety.com, 20 September 2022

–––, Art Crush: Objects of Desire, Elephant Magazine, Issue 48, Autumn/Winter 2022, UK, p. 25
Van Meter, William, Banks Violette Adds His Hardcore Touch to Celine’s Rock-Influenced Fall Collection, news.artnet.com, 8 September 2022
Willson, Tayler, Let’s hear it for Celine’s overused varsity jackets, highsnobriety.com, 2 August 2022
Lenzer, Emma, Celine Reveals Men's 'Boy Doll' Collection for Fall/Winter 2022, lofficielusa.com, 3 April 2022
Lee, Sophie; Violette, Banks, The Artist Banks Violette Is Bringing Hedi Slimane’s Punk Fantasy to Life, interviewmagazine.com, 10 March 2022
Thompson, Chase, Celine Homme | Debuts ‘Boy Doll’, flaunt.com, 4 March 2022
Wittmer, Mark, Celine Homme 'Boy Doll' Winter 22 Collection Ad Campaign | The Impression, theimpression.com, 6 March 2022
–––, Celine Homme Fall Winter 2022.23 Boy Doll Collection, designscene.net, 3 March 2022

Freeman, Nate, Wet Paint: Ex-Team Gallery Employees Say It’s Closing Permanently, Inigo’s Hawaiian Flyover, & More Juicy Art-World Gossip, news.artnet.com, 10 July 2020
Garcia-Furtado, Laia, Shannon Cartier Lucy Finds Her Home, garage.vice.com, 9 February 2020
Reid, Hilary, NYC Almost Killed This Up-and-Coming Artist, But Now, at 42, She’s Back, vulture.com, 17 January 2020
–––, See Inside the Sometimes Strange, Often Magical Studios of 10 of New York’s Most Famous Artists, From Cecily Brown to Julie Mehretu, news.artnet.com, 29 May 2020

Gloster, Jeremy, Quietly, Banks Violette Reemerges in New York, www.blouinartinfo.com, 23 October 2018
–––, Best of International Art Shows This Week, blouinartinfo.com, 25 October 2018

Tisci, Riccardo, Visionaire No. 60: Religion, Visionaire Publishing, July 2011

Kerr, Merrily, Banks Violette, Flash Art, May / June 2010, p.113.
Smith, Roberta, Sideburns & Swagger, Bad-Boys in Galleries: Banks Violette, The New York Times, 12 February 2010, p.28.

Art Basel, l’art contemporain dans tous ses états, L’objet d’art, June 2009, p.80.
Carvell, Nicky, It’s Modern Mysticism; but wheres’s the magick, Super Super, Issue 14, 2009, p.133.
Fano, Ramon, et al, Glossy, Neo2, November 2009, pp.136-143.
Fisher, Alice, Maureen, Fantastic Man, Autumn/Winter 2009, pp.148-155.
Focus New York, Artists Directory: Banks Violette, Flash Art, March 2009, p.71.
Spiegler, Almuth, Wenn die Möbel Feuer spucken, Art, February 20, p.82.
Taylor, Mary Blair, Banks Violette, i-D, January 2009.
Fisher, Alice, Maureen, Fantastic Man, Autumn/Winter 2009, pp.148-155.

Banks Violette, Pluk, October 2008, p.30.
Behrman, Pryle, Banks Violette, Galleries, October 2008, p.16.
Bollen, Christopher, 15 For 09: Banks Violette, Interview Magazine, December 2008, p.160.
Brealey, Louise, Second Coming, Wonderland, October 2008, p.64.
Critic’s choice: Galleries, Time Out, 11 September 2008, p.61.
Falconer, Morgan, Banks Violette, Art World, October 2008, pp.76-79.
Gavin, Francesca, The Art of Fear, Dazed and Confused, October 2008, pp. 154-161.
Lau, Charlene K., Banks Violette, akimbo.biz, 9 October 2008.
Potts, Rachel, Art and music now, Garageland, issue 7, 2008.
Sherwin, Skye, New Trends in Art: Black on Black, Art Review, January 2008, pp.63-69.
The new destination, Harper’s Bazaar, November 2008, p.197.
Westcott, James, Banks Violette, artreview.com, 15th September 2008.

Bell, Natalie, Banks Violette, Art Papers, November 2007, p.72.
Bryant, Eric, Banks Violette, Artnews, October 2007, p.215.
Fox, Dan, USA Today, Frieze, March 2007, p.183.
Koh, Terence and Violette, Banks, Two of a Kind, Flash Art, May 2007, pp.112- 116.
Kunitz, Daniel, The Man in Black, The Village Voice, 18 July 2007, p.50.
Morris, Jane, Maureen Paley: Gallery Profile, Art World, December 2007, pp.52- 55.
Pollack, Barbara, Banks Violette, Time Out New York, p.64.
Yablonsky, Linda, Scene and Herd: Banks Holiday, artforum.com, 06 July 2007.
Rosenburg, Karen, Renouncing the Dark Arts, New York, 2 July 2007.
Saltz, Jerry, Theory of the Market, Flash Art, March 2007, pp.90-93.
Stern, Steven. Banks Violette, Frieze, September 2007, p.184.
Vogel, Carol, Néo-Factory, Vogue Hommes, Autumn 2007, pp.232-235.
Wilson, Michael, Banks Violette, Artforum, September 2007, p.466.

Abbott, Jeremy, blackened is the end winter it will send, i-D, June – July 2006, p128-133.
Bernays, Ueli, Nostalgische Anklange – ironische Untertone, Neue Züricher Zeitung, 04 February 2006.
Corris, Michael, America Rising, Art Monthly, November 2006, pp.1-3.
Davies, Lillian, Manifest Destiny, Untitled, No. 38, June 2006, p38-41.
Ellis, Patricia, Catching up with Charles (Saatchi), Flash Art, October 2006, pp.64-67.
Ellis, Patricia, Banks Violette, USA Today, Saatchi Gallery, p.370-377.
Ellis, Patricia, Catching up with Charles (Saatchi), Flash Art, October 2006, p.64.67.
Gronlund, Melissa, David Altmejd: Art Star, ID, May 2006, p62.
Homes, A.M., The Way They Work, Vanity Fair, December 2006, p.354-357.
Kuni, Verena, While Interwoven Echoes Drip into Hybrid Body – An Exhibition about sound, performance and sculpture…, Kunstbulletin, March 2006.
Kopsa, Maxine, Elegant Bareness: Bank Violette’s Death Metal, Metropolis M, October / November 2006, p101&102.
Needham, Alex, Art: Banks Violette, i-D, June – July 2006, p170-171.
Needham, Alex, kill to get the money, i-D, September 2006, p188-191.
Nunez-Fernandez, Lupe, Banks Violette at Maureen Paley, Saatchi Gallery.com, 03 June 2006.
Octavia, Zaya, Banks Violette, Trial Balloons, MUSAC, May 2006, p53.
Pouncey, Edwin, Banks Violette/Sunn O))), Wire, August 2006, p.73.
Rinderknecht, Martin, Sie verfechten das Verflechten, Züritipp, January 2006.
Searle, Adrian, Schlock and awe, The Guardian, October 5, 2006.
Smith, Maggie, (editor), the new art, Rachmaninoff’s, 2006, p 13.
Spiegler, Marc, Market Trends: American Renaissance, The Art Newspaper, International Edition, 14 June 2006.
Stewart, Christabel, Blog: transmissions: Droning on, www.showstudio.com, 3 August 2006.
Sumpter, Helen, Banks Violette, Time Out London, 05 July 2006, p39.
Turner, Luke, Arts: Salt of the Sunn, Stool Pigeon, No. 007, June 2006, p36&37.
Umar, Saheer, Banks, Violette, Tokion, June 2006, p122.
W, M, Kunst fur alle Sinne, Migros Magazin, January 2006.
Wilson, Michael, Subculture Capital, artforum.com, 06 June 2006.
Banks Violette, Studio, August 2006, p 52-53.
Banks Violette: Maureen Paley, Kultureflash, 14 June 2006.
Books, Wallpaper, April 2006.
Exhibitions: Pick of the Week, The Guardian Guide, 24-30 June 2006, p37.
Heady Metal, New York Times Magazine, 28 May 2006, p30-35.
Migros Museum, Tema Celeste, March 2006.
News, Rock-A-Rolla, Issue 4, July/August 2006, p5.
Studio: Israeli Art magazine, Issue 166, August – September 2006, p52&53.
Top 100 Artists, Flash Art, October 2006, pp.68-69.

Art: Banks Violette, Kultureflash, July 2005.
Barliant, Claire, Banks Violette: Whitney Museum of American Art, Artforum, October 2005, p 273.
Castro, Jan Garden, Conversations with Ghosts: Banks Violette, Sculpture, December 2005, p 18-9.
Cohen, Michael, Whitney Museum of American Art – Banks Violette, Flash Art, October 2005, p 76.
Cohen, Michael J., Banks Violette: Cryptologist, Spike, Issue 5, 2005, p cover, 36-45.
Colman, David, A Southern Gothic Memento Mori, The New York Times, 7 August 2005, p 8.
Cotter, Holland, Fanciful to Figurative to Wryly Inscrutable, The New York Times, 2005, p E29, 31.
Cotter, Holland, Walter Redinger, Banks Violette, The New York Times, 2005, E36.
Davis, Ben, Ultra Violette, artnet.com, 4 August 2005.
Dexter, Emma, Vitamin D – New Perspectives in Drawing, Phaidon, 2005.
Egan, Maura, School of Goul, The New York Times Men’s Style Magazine, Fall 2005, p 76.
Ekroth, Power, Blankness Is Not a Void, artforum.com, 7 December.
Gural, Natasha, Whitney Museum commissions first solo museum exhibition…, newsday.com, 3 June 2005.
Jones, Jonathan, The Black Album, The Guardian, 10 January 2005.
Jones, Kristin M., Bridge Freezes Before Road, Frieze, October, p 217-8.
Kennedy, Randy, Master of the Dark Arts, The New York Times, 15 May 2005, p 1, 30.
Kimmelman, Michael, Youth and the Market: Love at First Sight, The New York Times, 18 March 2005, p 99.E37, 39.
Kley, Elisabeth, Burnt Churches and Salt Pillars, New York Press, 7 June 2005, p 26.
Lafuente, Pablo, Display – Recent installation photographs from London galleries and venues, Rachmaninoff’s , 2005, p18.
O’Reilly, Sally, The Black Album, Time Out London, 12-19 January 2005.
Rimanelli, David, Greater New York 2005, ArtForum, May 2005, p 239-240.
Saltz, Jerry, Lesser New York, Village Voice, 28 March 2005, p 77.
Smith, Roberta, Banks Violette, The New York Times, 1 July 2005, p 8.
Smith, Roberta, Spotting an Aesthetic Dispute and Embracing All Sides, The New York Times, 17 December 2005.
Sonnernborn, Katie Stone, Displaced Histories: The Art of Banks Violette, The Brooklyn Rail, September 2005, p 10.
T, R, Vitamin D, State of Art, September 2005.
Thornton, Sarah, The Power 100, Art Review, November 2005, p101.
Violette, Banks, Glisten Up, The New York Times Style Magazine, Fall 2005, p 74, 211.

Bankowsky, Jack, Many Happy Returns: This is Today, Artforum, May 2004, p 160-171, 233.
Caniglia, Julie, American Splendor, Travel + Leisure, March 2004, p60.
Corread, Stephane, Noctambule Spectral et Decale, Beaux Arts, June 2004, p 35-36.
DeBeer, Sue, Artists on artists: Banks Violette, Bomb, Summer 2004, p 52-53.
Dunn, Melissa, Whitney Biennial 2004: A Good-Looking Corpse, Flash Art, May-June 2004, p 63, 80.
Garrett, Craig, Noctambule, Flash Art, October 2004, p 60.
Heartney, Eleanor, The well-tempered Biennial, Art in America, June-July, p 71-77.
Johnson, Ken, Art in Review: ‘Scream’, The New York Times, 13 February 2004, p 36.
Kimmelman, Michael, Touching All Bases At The Biennial, The New York Times, 12 March 2004, p E27, 38.
Lee, Chris, Death Becomes Them, Blackbook, Fall 2004, p 190-192.
Placek, Matthu, Death becomes him, Art Review, 2004.
Rawsthorn, Alice, A Gothic Romance, Pop, Issue 9, p 222-229.
Rosenberg, Karen, Biennial Favorites, New York, 1 March 2004, p37-41.
Rothkopf, Scott, Many Happy Returns: Subject Matters, Artforum, May 2004, p 176-177, 233.
Saltz, Jerry, Modern Gothic, Village Voice, 4-10 February 2004, p 86.
Slimane, Hedi, Ritual, Dazed & Confused, August 2004, p 91, 96.
Slimane, Hedi, Interview with Banks Violette, Doingbird, Issue 8, 2004, p 80-83.
Tumlir, Jan, My Pop: Banks Violette, Artforum, October 2004, p 86.
Violette, Banks, Whitney Bound, V Magazine, Spring 2004.
Violette, Banks, Top Ten, Artforum, January 2004, p 48.

Cohen, Michael, The New Gothic, Flash Art International, July 2003, p 108-110.
Harris, Jane, Review of ‘An Enquiry…’, Time Out New York, October 2003, p 63.
Iles, Chrissie, Best of 2003, Artforum, December 2003, p 122-123.
Pearson, Jesse, I do this, I do that, The personality artist and heavy metal Dandyism, Parkett, 2003.
Schwendener, Martha, Review of ‘Back in Black’, Time Out New York, 31 July 2003, p 53.
Wysong, Brennen, Fiend Club, Flyer, June 2003.
Fiend Club, 2003.
Unicorns are dead, Vice, 2003.

Honigman, Ana Finel. Review, Time Out New York, 25 July 2002, p54.
Johnson, Ken, Art In Review: ‘Banks Violette’ The New York Times, 2 August 2002, p 33.
Jones, Jonathan, Stop Spreading the News, The Guardian, 28 August 2002.
Levin, Kim. Voice Choice, The Village Voice, 30 July 2002, p 96.
MacKenzie, Michael A. Banks Violette: Investigations into Alienation, Visual Arts Journal, Summer 2002, p 10-11.
Worth, Alexi. Art Choice, The New Yorker, 19 August 2002, p 38.