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| Born in Osaka, Japan | |
| Lives and works in Los Angeles | |
| Education | |
| California Institute of the Arts, Valencia, California, MFA, 2000 | |
| University of California, Los Angeles, Los Angeles, California, BA, 1997 | |
| Solo Exhibitions | |
| GREEN DOOR, Herald St, London, 2021 | |
| ARMOR, The Box, Los Angeles, 2021 | |
| IN THE RAVINE, Misako & Rosen, Tokyo, 2019 | |
| SUBTERRANEAN & WANDERER, Brennan & Griffin, New York, 2019 | |
| BREAKING THE WAVES, Shane Campbell Gallery, Chicago, 2018 | |
| GIBBOUS, Brennan & Griffin, New York, 2017 | |
| PEAKING, The Box, Los Angeles, December 2016 | |
| BIG QUESTION, Brennan & Griffin, New York, 2016 | |
RED OLIVE, GOLDEN LIPS, Misako & Rosen, Tokyo, 2015 |
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| PIT AND LOG, Brennan & Griffin, New York, 2013 | |
| UNKNOWN: VIDEO WORKS 2006-2011, Brennan & Griffen, New York, 2012 | |
| TO AND FROM, with Sid M. Duenas, Dobaebacsa, Seoul, 2009 | |
| WRONG PERSON, Misako & Rosen, Tokyo, 2008 | |
| NAOTAKA HIRO, The Box, Los Angeles, 2008 | |
| TO AND FROM, with Sid M. Duenas, The Box, Los Angeles, 2008 | |
| KNOWS NOTHING, Misako & Rosen, Tokyo, 2007 | |
| NAOTAKA HIRO, Taka Ishii Gallary, Tokyo, 1999 | |
| Selected Group Exhibitions | |
| SWEET HOME, Rachel Uffner Gallery, New York, 2021 | |
| SWEET HOME, Critical Path Method, Baltimore, 2021 | |
SPIRITS IN THE MATERIAL WORLD, Halsey McCay Gallery, 2021 |
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| FOREVERMORE PART 1, Misako&Rosen, Tokyo, 2021 | |
| SEVEN STATIONS: SELECTIONS FROM MOCA'S COLLECTION, MOCA, Los Angeles, 2020 | |
| IN THE MEANWHILE... RECENT AQUISITIONS OF CONTEMPORARY ART, Santa Barbara Museu, 2020 | |
| MYSELVES, Kohn Gallery, Los Angeles, 2020 | |
| LE HANGER, La Maison de Rendez-Vous, Brussles, 2020 | |
| 50+50: A CREATIVE CENTURY FROM CHOUNARD TO CALARTS, REDCAT, Los Angeles, 2020 | |
| RITURALS OF REGARD AND RECOLLECTION, Law Warschaw Gallery, Saint Paul, MN, 2020 | |
| CULT OF THE CRIMSON QUEEN, Ceysson & Benetiere, New York, 2020 | |
| MIHO DOHI, NAOTAKA HIRO, WATARU TOMINAGA, Nonaka-Hill, Los Angeles, 2019 | |
| CONDO LONDON 2019, Southard Reid, London, 2019 | |
| NAOTAKA HIRO, ERIC WESLEY, POONEH MAGHAZEHE & ROBIN PECK, Step Sister, New York, 2018 | |
| HAPPY MIND - NATURAL HIGH, Misako & Rosen, Tokyo, 2018 | |
| MADE IN L.A. 2018, curated by Anne Ellegood and Erin Christovale, Hammer Museum, Los Angeles, 2018 | |
| HOG'S CURVE, Halsey McKay Gallery, New York, 2018 | |
| ALAN SHIELDS PROJECT, Van Doren Waxter, New York, 2018 | |
| ABSTRACT / NOT ABSTRACT, curated by Jeffrey Deitch and Larry Gagosian, The Moore Building, Miami, 2017 | |
| BETWEEN WORDS AND SILENCE: THE WORK OF TRANSLATION, Armory Center for the Arts, Pasadena, 2017 | |
| THE ECSTASY OF MARY SHELLEY, Los Angeles Contemporary Exhibitions, Los Angeles, 2017 | |
| PROTUBERANCES, LA><ART, Los Angeles, 2016 | |
| PLACEBOUND, Woodbury University, Burbank, 2016 | |
| A MODEST PROPOSAL, Hauser & Wirth New York 18th Street, New York, 2016 | |
| HUMAN AFTER ALL, VCUarts, Richmond, 2016 | |
| IMPROMPTU, The Box, Los Angeles, 2016 | |
| GROUP EXHIBITION:GUY GOODWIN, HEATHER GUERTIN, NAOTAKA HIRO, DAVE McDERMOTT, JASON MEADOWS, Brennan & Griffin, New York, 2015 | |
| ALFRED JARRY ARCHIPELAGO: LA VALSE DES PANTINS - ACTE II, La Ferme du Buisson Centre d'Art Contemporain, Paris, 2015 | |
R.S.V.P.LOS ANGELES: THE PROJECT SERIES AT POMONA, Pomona College Muesum of Art, Pomona, 2015 |
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| MIRROR EFFECT, The Box, Los Angeles, 2015 | |
| WHERE THE SAND WORMS SLUMBERS, Charlie James Gallery, Los Angeles, 2014 | |
| HALF EMPTY, Brennan & Griffin, New York, 2014 | |
| IS THE ART PRETTY? NO, SAYS MUMMY. PRETTY IS NOT IMPORTANT, Beefhaus, Dallas, 2014 | |
| EAST SIDE TO THE WEST SIDE, FLAG Art Foundation, New York, 2014 | |
| MEN IN LA: THREE GENERATIONS OF DRAWERS, The Box, Los Angeles, 2014 | |
| PT. & PT. with Sid M. Duenas, High Desert Test Site, Josua Tree, 2011 | |
| OBJECTS FOR THE LIVING, Post, Los Angeles, 2011 | |
| HAPPY MIND MY PLEASURE/MY VIEW, Misako & Rosen, Tokyo, 2011 | |
| SYMPATHETIC MAGIC: VIDEO MYTHS AND RITUALS, ARMORY CENTER FOR THE ARTS, Pasadena, 2010 | |
| KOKI TANAKA & NAOTAKA HIRO/ KAZ OSHIRO, Las Cienegas Project, Los Angeles, 2010 | |
| ATLAS OF GIFTED IDEAS, Henry Art Gallery, Seattle, 2010 | |
| GEBA GEBA, Misako & Rosen, Tokyo, 2009 | |
| EXTRA EXTRA, China Art Objects Gallery, Los Angeles, 2009 | |
| FIGURES, curated by William E. Jones, David Kordansky Gallery, Los Angeles, 2008 | |
| TRUDI: NO JERKS, RENTAL, New York, 2007 | |
| MANY MANY GUYS AND GIRLS, ALL REAL BEAUTIES, Circus of Books Gallery, Los Angeles, 2006 | |
| AJA XX: API/2, JACCC, Los Angeles, 2006 | |
| POLYSPHARE, raumcommander, Berlin, 2006 | |
| PANIC OUR OLDER BROTHER, ALM Gallery, Munich, 2006 | |
| PRAGUE BIENNALE1, National Gallery Veletrzni Palac Dukelskych, Prague, 2003 | |
| YOUNG JAPANESE ARTISTS, LIMN Gallery, San Francisco, 2002 | |
| LANDSCAPE, Zero One Gallery, Los Angele, 2002 | |
| HIROPON SHOW, Museum of Contemporary Art, Tokyo, 2001 | |
| NEW ROMANTIC, Diannepruess Gallery, Chinatown, Los Angeles. 2001 | |
| ARTIFICIAL REAL, LOW, Los Angeles, 2000 | |
| RE-LAX, Gallery Krinzinger, Vienna, 1998 | |
| ERO POP CHRISTMAS, Nadiff, Tokyo, 1998 | |
| DOUG AITKEN, ALEX BAG, NAOTAKA HIRO, Taka Ishii Gallery, Tokyo, 1997 | |
| IMPRUDENT, Wight Gallery at UCLA, Los Angeles, 1997 | |
| Screenings | |
| PEAKING #1 & #2, 650mAh, Hove, UK, 2019 | |
| BODIES 2, France Los Angeles Exchange (FLAX), Los Angeles, 2018 | |
| RAW 2016, Reed College, Portland, 2016 | |
| MILWAUKEE INTERNATIONAL: NO SOUL FOR SALE: A FESTIVAL OF INDEPENDENTS, Tate Modern, London, 2010 | |
| I FOUND MYSELF AN INNOVATOR, curated by Rachel Cook and Yuki Okumura, DiverseWorks, Houston Texas, 2009 | |
| THE YOUNG AND EVIL, curated by Stuart Comer, Outfest, Redcat Theater, Los Angeles, 2009 | |
| MURDER PRETENDED, curated by Naotaka Hiro, Festival Internacional Cervantino, Guanajuato, 2008 | |
| THE YOUNG AND EVIL, curated by Stuart Comer, tank.tv, London, 2008 | |
| MURDER PRETENDED, curated by Naotaka Hiro, Casa Vecina, Mexico City, 2008 | |
| PHYSICAL, PORTRAITS, IDEAL #10, SAISON VIDEO, Roubaix, 2008 | |
| ARTWALK AFTER PARTY 2007, LACMA MUSE, Los Angeles, 2007 | |
| INAUGURAL SCREENING, c-level, Los Angeles, 2001 | |
| GOOD-BYE, ENIWETOK, Beyond Baroque, Los Angeles, 1998 | |
| CARLfS PLACE 2, LACE, Los Angeles, 1997 | |
| CARLfS PLACE, QUON BROS, Los Angeles, 1997 | |
| Publications | |
| VITAMIN D3: TODAY'S BEST IN CONTEMPORARY DRAWING, Phaidon Press, 2021 | |
| Moving a Painting (with Eight Notes on Atsuko), You & i are Earth organized by Fergus Feehily, Paper Visual Art | |
| POLAR STAR, X-TRA magazine, Fall/Winter 2020 Volume 23 Number 1 | |
| MADE IN L.A. 2018, Exhibition Catalog, 2018 | |
| RSVP LOS ANGELES, Exhibition Catalog, 2015 | |
| WHERE THE SAND WORM SLUMBERS, Exhibition Catalog, The Pit, 2015 | |
| TO AND FROM, with Sid M. Duenas, 2008 | |
| CORONA 1, with Sid M. Duenas, 2006 | |
| Lectures | |
| Artist Talk, School of the Art Institute of Chicago, 2020 | |
| Artist Talk, Otis College of Art and Desgin, 2020 | |
Artist Talk, Reed College, Portland, 2016 |
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| Artist Talk, In Conversation with Glenn Phillips, Pomona College Museum of Art, Pomona, 2015 | |
| Artist Talk, Pomona College, Pomona, 2014 | |
| Curator Talk on Murder Pretended, Casa Vecina, Mexico City, 2008 | |
| Artist Talk, University of California Irvine, Irvine, 2008 | |
| Artist Talk, JACCC, Los Angeles, 2006 | |
| Awards and Grants | |
| Art Matters Foundation, 2014 | |
| The Asian and Pacific Islander Artist Presenting Initiative (API/2), 2006 | |
| Scholarship, California Institute of the Arts, 2000-2001 | |
| Bibliography | |
| Frank Wasser, Critique - Book Review, You & i are Earth, Visual Artist' News Sheet, 2021 | |
| Annabel Osberg, One Work: Naotaka Hiro's "Untitled (At Dawn)", Art in America, 2021 | |
| Allison Strauss, Gallery Rounds: Naotaka Hiro, Artillery, 2021 | |
| Edward Goldman, Art Matter, 2021 | |
| The CARLA, Podcast, Episode 27: Naotaka Hiro, 2021 | |
| Lindsay Preston Zappas, KCRW, Art Insider, 2021 | |
| Rosanna Albertini, Naotaka Hiro: Again, art is a mental thing, 2021 | |
| 'myselves': 4 artists on interpreting the body in the age of pandemic, Document Journal, 2020 | |
| At New Digital NADA Fair with Unusual Finance Model ART news, 2020 | |
| NADA's New Profit-Sharing Digital Art Fair to Launch Next Week, ARTFORUM, 2020 | |
| Nada launches new collaborative fair model to help support galleries, The Art Newspaper, 2020 | |
| NADA is Launching a Commercial New Online Art Fair for 2020 Dealers Who Will Equally share 20 Percent of All Sales, Artnet news, 2020 | |
| CalArts Realizes Its Tuition Is High - Carrie Mae Weems and More Alumni Wants to Help, W Magazine, 2020 | |
| CalArts Commisions Works by 50 Artist Alumni to Fund Scholarship, Hyperallergic, 2020 | |
| CalArts recruits alumni to create works financing studionts' scholarships, The Art Newspaper, 2020 | |
| CalArts Held an Opening of Its Alumni Benefit Show During Frieze L.A., Architectural Digest, 2020 | |
| Gold Circle: CalArts 50+50 Project Celebrates A Milestone, LA Weekly, 2020 | |
| THE 6 RISING ARTIST TO WATCH IN 2019, W Magazine, 2019 | |
| Marie de Brugerolle, POST-PERFORMANCE PAINTING, Mousse Magazine, Winter 2019 | |
| Kavior Moon, Art News, A Multiplicity of Perspectives, Art News | |
| Jonathan Griffin, Made in L.A. 2018, art agenda | |
| Matt Stromberg, Resolutely Political LA Artists Focus on the Body in the City's Latest Biennial, Hyperallergic | |
| Jordan Riefe, Ambitious, Diverse and Topical: "Made in L.A. 2018" Is the Biennial We Need Right Now, LA Weekly | |
| Richard Chang, 'Made in L.A.' the Hammer Museum Biennial, BlouinArtInfo | |
| Travis Diehl, 'Made in L.A. 2018': Widely Inclusive and Brimming with Community Spirit, But Is It Too Earnest?, Frieze.com | |
| Jennifer Piejko, Five Artists Not To Miss, LALAmag | |
| Goings on about Town, Alan Shields Project, New Yorker, 2018 | |
| Dan Duray, Jeffrey Deitch and Gagosian Team Up to Defeat Zombie Formalism, Vice, 2018 | |
| Will Whitney, Naotaka Hiro: Gibbous, The Brooklyn Rail, October 2017 | |
| Eli Diner, Naotaka Hiro, Frieze, December 2016 | |
| Leah Ollman, The human cocoon: Naotaka Hiro's primal art, made from within, Los Angeles Times, December 2016 | |
Shana Nys Dambrot, Naotaka Hiro: Peaking at The Box, LA, Art and Cake, December 2016 |
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| Claire de Dobay Rifelj, Naotaka Hiro at The Box, Contemporary Art Review LA, December 2016 | |
| Andy Campbell, Critic's Picks, Protuberances, Artforum, October 2016 | |
| Pierre-Henri Foulon, Le corps desarticule d'Alfred Jarry, La Quizaine Littéraire, February 2016 | |
| Orianne Hidalgo-Laurier, Corps (im)pur, Mouvement, October 2015 | |
| Rachel Holmes, Frieze 2015 Highlight: interview with Naotaka Hiro, The Metropolist, October 2015 | |
| Rachel Holmes, Frieze Art Fair 2015: 10 things we learned, The Metropolist, October 2015 | |
| Paul Carey Kent, Freize 2015 Paul Carey Picks His Favorite, artlyst, October 2015 | |
| Matt Stromberg, Men in LA: Three Generations of Drawings at The Box, Daily Serving, June 2014 | |
| Michael Zelehoski, NADA Much, ArtSlant New York, December 2011 | |
| Andrew Russeth, NADA Miami Beach Outperforms, Gallerist NY, December 2011 | |
| Andrea Zittel/High Desert Test Site, Flash Art International, app, November-December 2011 | |
| Catherine Taft, REVIEW, ARTFORUM, February 2011 | |
| Catherine Taft, TOP 10 SHOWS IN LOS ANGELES, SAATCHI ONLINE Magazine, December 2010 | |
| Cathy Rose A. Garcia, Experimental Video at DoBaeBacSa, The Korea Times, February 11 2009 | |
Brutas magazine, Issue #651, December 2008 |
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| Esquire Magazine Japan, December 2008 | |
| CREA Traveller, Why not go to California?, P77-79, August 2008 | |
| Kathryn M. Davis, Los Angeles: Capital of Contemporary Art?, THE magazine, July 2008 | |
| Catherine Taft, Review on FIGURES, Modern Painters June 2008, p 94 | |
| Catherine Wagley, BODYSCAPES, ArtSlant Los Angeles, 2008 | |
| Catherine Taft, ROUND-UP OF THE BEST SHOWS IN LA, SAATCHI ONLINE Magazine, 2008 | |
| Catherine Taft, INTRODUCING , Modern Painters November 2007, p 58-60 | |
Studio Voice, July 2007, p.107 |
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| Gea Politi, Come with me, Prague Biennale 1 catalog, 2003 | |
| David Pagel, Art Reviews, Los Angeles Times, Los Angeles, August 2000 | |
| Takashi Murakami, LA ART, Studio Voice, Tokyo: INFAS, December 1998, p.114 |
copyright 2021 Naotaka Hiro - all rights reserved. |