Brian Holmes

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Brian Holmes (1959, San Francisco) is a cultural critic who has worked with activists and artists in Europe and the Americas. He is interested primarily in the intersections of artistic and political practice. He holds a doctorate in Romance Languages and Literatures from the University of California at Berkeley. Holmes was the English editor of publications for Documenta X, Kassel, Germany in 1997. He is a member of the groups Deep Time Chicago and Compass, and a former member of the graphic arts group Ne pas plier from 1999 to 2001, and the French conceptual art group Bureau d'études. He lives in Chicago.



  • co-editor, Continental Drift, Zagreb: What, How and for Whom/WHW, and Zagreb: AGM, 2008, 35 pp. Catalogue. (Croatian)
  • Unleashing the Collective Phantoms: Essays in Reverse Imagineering, New York: Autonomedia, 2008, 187 pp. [1]. Review: Biles (Chicago Artists' News).
  • Profanity and the Financial Markets. A User’s Guide to Closing the Casino, Hatje Cantz (100 Notes, 100 Thoughts: Documenta Series), 2012. (English)/(German)
  • with Beate Geissler and Oliver Sann, Volatile Smile, Nürnberg: Moderne Kunst, 2014, 182 pp. [2] [3]


  • Clement Greenberg, Between the Lines, trans. Thierry de Duve and Brian Holmes, University Of Chicago Press, 2010.

Journal issues[edit]

  • editor, with Gerald Raunig, Brumaria 5: "Arte : la imaginación política radical", Madrid: Asociación Cultural Brumaria, 2005, 379 pp. TOC. Introduction. (Spanish)

Book chapters, essays[edit]

  • "Liar's Poker", Springerin 1, Vienna, 2003; repr., Subsol 2: "Art of Commodification", n.d.
  • "The Revenge of the Concept: Artistic Exchanges, Networked Resistance", in Confronting Capitalism: Dispatches from a Global Movement, eds. Eddie Yuen, Daniel Burton-Rose, and George Katsiaficas, Brooklyn, NY: Softy Skull, 2004; repr. in Holmes, Unleashing the Collective Phantoms, 2008. [4] [5]
    • "Maščevanje koncepta", in Holmes, Fleksibilna osebnost. Maščevanje koncepta, trans. Alvina Žuraj, Ljubljana: Založba /*cf., 2005. (Slovenian)
  • "Captive Sun", in Petcoke: Tracing Dirty Energy, Chicago: Museum of Contemporary Photography, 2016. [11]