She is brutally honest in a way few artists have dared to be about the complexities and contradictions of desire and about the ways the Internet has created new opportunities and appetites. … It is hard to think of another artist so nakedly present in his or her own work, and it can seem staggering that Stark is so willing to disclose intimate details. … [T]he overridingly optimistic claim of these works is that from today’s conditions of defeat and disconnection might spring a form of connectedness that is nothing like the Facebook version of networked friendship, because it is beyond the reach of commercialization.

—Mark Godfrey, Artforum, January 2013


Frances Stark is the author or subject of ten books. Her collage, drawings, videos, powerpoints, performances, and paintings have been extensively exhibited in museums and galleries worldwide. In 2017 a new suite of her paintings are included in the Whitney Biennial, her The Magic Flute project premiered at LACMA, and an earlier work will be featured in the Venice Biennale. In 2015 Stark was the subject of a sprawling mid-career survey titled UH-OH: Frances Stark 1991-2015 that opened at The Hammer Museum before traveling to the Museum of Fine Arts, Boston, as well as Intimism, a survey of her video and digital works at The Art Institute of Chicago. Stark’s work has been included in exhibitions at many of the most prominent museums in the world. She participated in the 2013 Carnegie International, the 2011 Venice Biennale, and the 2008 Whitney Biennial. She is represented by Gavin Brown’s enterprise in New York, Galerie Buchholz in Berlin, greengrassi in London, and Marc Foxx in Los Angeles. Stark recently resigned her position as tenured professor in the University of Southern California’s Roski School of Art and Design.