EDUCATION

Master of Fine Art | Hunter College, C.U.N.Y. (Painting) 1986
Bachelor of Fine Art | Alberta College of Art (Sculpture) 1984

TEACHING

2005 – 2006 Adjunct Professor, School of Art, University of Houston, Houston, Texas
2005 – 2006 Adjunct Professor, Department of Art, Rice University, Houston, Texas
2004 – 2005 Visiting Assistant Professor, School of Art, University of Houston, Houston, Texas
2003 – 2005 Instructor at The Glassell School of the Museum of Fine Art, Houston, Texas
1994 – 2002 Instructor at The School of Visual Arts, New York

SELECT MUSEUM & PUBLIC COLLECTIONS

The Guggenheim Museum | New York
The Museum of Modern Art | New York
The New York Public Library | New York
The Brooklyn Museum | New York
The Chicago Art Institute | Chicago, Illinois
The National Gallery of Art | Canada
The Detroit Institute of Art | Detroit, Michigan
The Museum of Fine Arts | Houston, Texas
Museum Moderner Kunst | Vienna, Austria
Schauwerk | Sindelfingen, Germany
Musee d’Art Contemporain | Grenoble, France
The Australian National Gallery | Parkes, Australia
Art Gallery of Ontario | Toronto, Canada
Eli Broad Foundation | Santa Monica, California
Osler Hoskin Harcourt | Calgary, Alberta
Burda Media| Offenburg, Germany
Les Vingt de Groeninge| Brugges, Belgium
The Broad Museum| Los Angeles, California
The Portland Art Museum| Portland, Oregon
Edmonton Art Gallery, Edmonton, Canada
Ernst and Young Tower | Calgary, Alberta, Canada
Jack S. Blanton Museum of Art | Austin, Texas
MacKenzie Art Gallery | Regina, SK, Canada
Glenbow Art Gallery | Calgary, Canada
Museum of Contemporary Canadian Art | Canada

Inclusion in collections throughout North America, Europe and Asia.

SOLO EXHIBITIONS

2016       
post-post, Wilding Cran Gallery, Los Angeles, California, January- March.

2013       
Christian Eckart: New Works, TrépanierBaer Gallery, Calgary, Alberta. March- April.

2011       
Christian Eckart: The Absurd Vehicle and Other Propositions, McClain Gallery, Houston, Texas. January-March.

2009     
Works and Projects, McClain Gallery, Houston, Texas, October-November.

2006     
Intelligent Design, TrépanierBaer Gallery, Calgary, Canada, May – June.
Purpose Driven, McClain Gallery, Houston, Texas, April – May.

2005     
Pornopticon – Clint Roenisch Gallery, Toronto, Canada, November – December.

2003     
Einstein’s Toaster – New Work by Christian Eckart, Galerie Thaddaeus Ropac, Salzburg, Austria, June – July.

2002     
My Way, TrépanierBaer Gallery, Calgary, Canada, September–October.
Exformation, McClain Gallery, Houston, Texas, January – February.

2001     
New Models, Art of this Century, New York, New York, November–December.

2000     
Circuits & Zootropes, Galerie Tanit, Munich, Germany, February–April.
Christian Eckart, Windows, Brussels, Belgium, March–May.

1999       
White Album, Trépanier Baer Gallery, Calgary, Canada, September–October.
Christian Eckart, Galerie Thaddaeus Ropac, Salzburg, Austria, November 1999–January 2000.
New Monochromatic Works – Christian Eckart, Robert McClain & Co. Fine Art, Houston, Texas, January–February.

1998       
Christian Eckart, Galerie René Blouin—Espace 502, Montreal, Quebec, Canada, organized by and in collaboration with Trépanier Baer Gallery, Calgary, Canada, May.

1997       
Christian Eckart, Robert McClain & Co. Fine Art, Houston, Texas.
Various Logic, Sidney Janis Gallery, New York, New York.
Christian Eckart, Works 1986–1996,” Galerie Tanit, Munich, Germany.
Christian Eckart, S.A.T. Exhibition Space, L.I.C., Queens, New York, presented by Galerie Thaddaeus Ropac, Paris, France and Salzburg, Austria, November.

1996       
Commencement of Disturbing Abstraction, organized by Mark A. Cheetham of the University of Western Ontario, The Artlab, The University of Western Ontario, London, Canada, November–December 1996; Art Gallery of North York, Toronto, Canada, January–February 1997; The Nickle Arts Museum, Calgary, Canada, May–August 1997; The Mackenzie Art Gallery, Regina, Canada, August–October 1997; Art Gallery of Windsor, Windsor, Canada, November 1997–February 1998; Edmonton Art Gallery, Edmonton, Canada, April– June 1998. (catalogue)
Vltava, Motel Fine Arts, New York, January–February.
Curved Monochrome Paintings, Galerie Thaddaeus Ropac, Paris, France, March–April.

1995     
Endless Line Paintings, Sabine Watchters Fine Arts, Brussels, Belgium, February–April.
Christian Eckart, Trépanier Baer Gallery, Calgary, Canada, February–April.
Curved Monochromes, Endless Lines, and Simple Models, Galerie Thaddaeus Ropac, Salzburg, Austria, November–December.

1994     
Christian Eckart, Trépanier Baer Gallery, Calgary, Canada.
Christian Eckart, Galerie Tanit, Munich, Germany, March–April.
The Veils, Sabine Watchters Fine Arts, Knokke, Belgium, April–May.

1993     
Christian Eckart, Abbaye Saint-Andre, Centre d’Art Contemporain, Meymac, France, February–April (catalogue).
Paintings – Christian Eckart, Sabine Watchters Fine Arts, Brussels, Belgium, April–June.
Paintings – Christian Eckart, Sabine Watchters Fine Arts, Knokke, Belgium, April–June.
The Power-Chord Cycle Etching Portfolio, Betsy Senior Contemporary Prints, New York, June–July.
Christian Eckart, Studio La Città, Verona, Italy, November (catalogue).

1992
Sacra Conversazione Paintings, Galerie Tanit, Cologne, Germany, January.
Shadow Paintings Project, Rubin Spangle, New York, October.

1991
The Power-Chord Cycle, organized by Bill Jeffries, Contemporary Art Gallery, Vancouver, Canada, January–February.
The Real, the Ideal, the Signified, organized by Zina Davis, Joseloff Gallery, University of Hartford, Hartford, Connecticut, January–February (catalogue).
Sacra Conversazione Paintings, Rubin Spangle Gallery, New York, May.
The Power-Chord Cycle, Galerie Thaddaeus Ropac, Paris, France, June.

1990
Christian Eckart, Galerie Philippe Kriwin, Brussels, Belgium (catalogue).
Forum at the International Kunstmesse, Dusseldorf, Germany, presented by Galerie Tanit, Munich, Germany.
The Power-Chord Cycle, organized by Ron Moppet, Illingworth Kerr Gallery, Alberta College of Art, Calgary, Canada, October–November (catalogue).

1989
Christian Eckart, Rhona Hoffman Gallery, Chicago, Illinois.
Christian Eckart, Massimo Audiello Gallery, New York.

1988
Christian Eckart, Massimo Audiello Gallery, New York.
Museum ex Horror Vacuii, Galerie ’T Venster(currently known as Witte de With) organized by Gosse Oosterhof, Rotterdam, the Netherlands.
Christian Eckart, Galerie Laage-Salomon, Paris, France.

1987
Christian Eckart, Rhona Hoffman Gallery, Chicago, Illinois.
Christian Eckart, Galerie Tanit, Munich, Germany, November–December (catalogue).

1986
Christian Eckart, Massimo Audiello Gallery, New York, May.
Christian Eckart, Massimo Audiello Gallery, New York, November.

1984
Christian Eckart, Paul Kuhn Fine Arts, Calgary, Canada, July.

 

GROUP EXHIBITIONS

2018
Gold. Museum of European and Mediterranean Civilizations, Marseille, France, April- September, 2018.

2016
SPLIT – Mirror. Light. Reflection, Schauwerk, Sindelfingen, Germany, October- October 2017.
Radiant Space, McClain Gallery, Houston, Texas, May-August.
Haunting Holbein: Christian Eckart, Evan Penny & Vikky Alexander, TrépanierBaer Gallery, Calgary, Alberta. January-

2015
Haunting Holbein: Christian Eckart, Evan Penny & Vikky Alexander, TrépanierBaer Gallery at Art Toronto.
Reflections of Light, Galerie Tanit, Munich, Germany, March-June.
I Like America, Schauwerk, Sindelfingen, Germany, September-September 2016.

2014
Selected Works, Wilding Cran Gallery, Los Angeles, California, July-September.
INAGURAL SHOW #2, Wilding Cran Gallery, Los Angeles, California, May-July.

2013
Outside the Lines, organized by Bill Arning, Contemporary Arts Museum Houston, Houston, Texas, October-January 2014.
Endless, McClain Gallery, Houston, Texas, July-August.
Celestial, McClain Gallery, Houston, Texas, June-August.

2012
Conceptual Abstraction, (reconsideration of the original 1991 exhibition presented at Sidney Janis Gallery, N.Y.C.) organized by Pepe Karmel and Joachim Pissarro, Hunter College Galleries, New York, New York, October-November.
In Plain Sight, organized by Aaron Parazette, McClain Gallery, Houston, Texas, September-October.
A Golden Time of Day, McClain Gallery, Houston, Texas, July-August.
GOLD, Lower Belvedere, Vienna, Austria, March-June.

2011
The Durable Idiom: Eric Cameron, Christian Eckart, Stéphanie La Rue, TrépanierBaer Gallery, Calgary, Alberta, March-April.

2010
Schauwerk Sindelfingen; 100 Artists, 100 Works, 100 Positions, Schauwerk Sindelfingen, Sindelfingen, Germany, June-.
Color & Form, organized by Franklin Sirmans, Broad Contemporary Art Museum at Los Angeles County Museum of Art, Los Angeles, California, August- June 2011.
Painting: Process and Expansion from the 1950’s to the Present, Museum Moderner Kunst, Vienna, Austria, July-October.

2009
The Royal Canadian Academy of Arts: A Celebration of Art, Architecture and Design, TrépanierBaer Gallery, Calgary, Alberta.
Wonderland, McClain Gallery, Houston, Texas, March-April.

2008
Bloodline: The Evolution of Form, McClain Gallery, Houston, Texas, September- October.

2007
Scope Miami with TrepanierBaer Gallery, Calgary, Alberta.

2006
Found in POP, TrepanierBaer Gallery, Calgary, Alberta.

2005
The Shape of Colour: Excursions in Color Field Art, 1950 – 2005, organized by Dr. David Moos, Art Gallery of Ontario, Toronto, Canada, May 2005, (catalogue.)
Universal Medium, McClain Gallery, Houston, Texas, March – April, 2005.
Beauty Supply, Clint Roenisch Gallery, Toronto, Canada, January – February.

2003
American Beauty, organized by Robert McClain, McClain Gallery, Houston,Texas, November.
Space Vehicles: Allusion Objectified, organized by Christian Eckart, McClain Gallery, Houston, Texas, January – February (catalogue).

2002
Selections from the Martin Z. Margulies Collection, organized by Dahlia Morgan, The Art Museum, Florida International University, Miami, Florida, September – December (catalogue). In the abstract, McClain Gallery, Houston, Texas, July – August.
Looking At Painting - 1, organized by Isabel Kunigk, Galerie Tanit, Munich, Germany, September - October.
Album: ACAD @ 75, part II, organized by Ron Moppett, Illingworth Kerr Gallery of Art, Alberta College of Art and Design, September – October (catalogue).

2001
Rembrandt to Rauschenberg: Building the Collection, organized by Annette Dimeo Carlozzi, Jack S. Blanton Museum of Art, The University of Texas at Austin, Austin, Texas, January–March.
Pleasure of Sight & States of Being: Radical Abstract Painting since 1990, organized by Roald Nasgaard, Florida State University at Tallahasee, Tallahassee, Florida (catalogue).
An Art Odyssey – Recent Acquisitions to the Contemporary Collection, organized by Kirsten Evendon, Glenbow Museum, Calgary, Canada, July–September.
Geometry and Gesture, organized by Nikolaus Ruzicska, Galerie. Thaddaeus Ropac, Salzburg, Austria, July–August.
Diskursive Malerei, organized by Lorand Hegyi, Museum Moderner Kunst Stiftung Ludwig Wien, Vienna, Austria, September–March 2002.
New York, McClain Gallery, Houston, Texas. Benefit for New York City and inauguration of new gallery location.

2000
Faith: The Impact of Judeo-Christian Religion on Art at the Millennium, organized by Christian Eckart, Harry Philbrick, and Osvaldo Romberg, The Aldrich Museum of Contemporary Art, Ridgefield, Connecticut, Jan–May (catalogue).
Sculpture 2000, Robert McClain & Co. Fine Art, Houston, Texas, June.

1999
Abstrakt, Max-Gandolph-Bibliothek, organized by Galerie Thaddaeus Ropac, Salzburg, Austria, July–August (catalogue).
Abstractions, Galerie Laage-Salomon, Paris, France, September–October.
Masterprints, Galerie Nächst St. Stephan Rosemarie Schwarzwälder, Vienna, Austria, November 1999–January 2000.

1998
The Erotic Sublime (Slave to the Rhythm), organized by Nikolaus Ruzicska, Galerie Thaddaeus Ropac, Salzburg, Austria, July–August (catalogue).
Interpreting, organized by Dena Shottenkirk, The Rotunda Gallery, Brooklyn, New York, September–October (CD-ROM catalogue).
New Work New York, Robert McClain & Co. Fine Art, Houston, Texas, September–October.
Small Works by Gallery Artists, Robert McClain & Co. Fine Art, Houston, Texas, December 1998–January 1999.

1997
Reductive Forms, Robert McClain & Co. Fine Art, Houston, Texas.
Fluchtgeschwindigkeit (Escape Velocity), Galerie Tanit, Munich, Germany.
Kunst im Kontorhaus Mitte, Galerie Tanit, Berlin, Germany.
Antlitz (Countenance): Face, Head and Portrait in Contemporary Art, organized by Nikolaus Ruzicska, Galerie Thaddaeus Ropac, Salzburg, Austria, August (catalogue).
Face à Face, organized by Nikolaus Ruzicska, Galerie Thaddaeus Ropac, Paris, France (catalogue).

1996
Abstract Practice, Galerie Thaddaeus Ropac, Salzburg, Austria, May–July (catalogue).
...E La Chiamano Pittura... (...And They Call It Painting...), organized by Mario Bertoni, Studio La Città, Verona, Italy, June–September (catalogue).
De Adem van Adam (The Breath of Adam), organized by Joannes Kesenne, Provinciaal Centrum voor Beeldende Kunsten-Begijnhof, Hasselt, Belgium, August–September (catalogue).
Abstrakt/Real, organized by Lorand Hegyi, Museum Moderner Kunst Stiftung Ludwig Wein, Vienna, Austria, November 1996–January 1997 (catalogue).

1995
The Spontaneous Echo, organized by Claire Christie, Olga Korper Gallery, Toronto, Canada, June.
The Golden and the Baroque, Robert McClain & Co., Houston, Texas, September–October.
Last Chance for Eden: The Contemporary Sublime, Part 1, Trépanier Baer Gallery, Calgary, Canada, September–October.
Lapislazuli + Gold, Galerie Sfeir-Semler, Kiel, Germany, Spring.

1994
Praticamente Argento, (Basically Silver), Studio La Città, Verona, Italy.
Painting, Rhona Hoffman Gallery, Chicago, Illinois, April–May.
Artists of the Gallery, Galerie Sabine Wachters, Brussels, Belgium.

1993
I Am the Enunciator, organized by Christian Leigh, Thread Waxing Space, New York, January–February (catalogue).
Slittamenti/Transactions (I Love You More Than My Own Death), organized by Christian Leigh, 45th Biennale di Venezia, Granai delle Zitelle, Guidecca, Venice, Italy, Spring. (catalogue).”
Living with Art: The Collection of Ellyn & Saul Dennison, The Morris Museum, Morristown, New Jersey, Oct–Nov (catalogue).
Accrochage International, Galerie Sabine Wachters, Brussels, Belgium.

1992
Rubin Spangle Gallery, New York, January–February.
Fifteenth Anniversary Exhibtition, Rhona Hoffman Gallery, Chicago, Illinois.
Nothing New: The Positive Absence of Originality in Art, organized by Anthony Iannacci, Studio La Città 2, Verona, Italy, May (catalogue).
Quotations: The Second History of Art, organized by Barry Rosenberg, The Aldrich Museum of Contemporary Art, Ridgefield, Connecticut, May–September; Museum of Contemporary Art at Wright State University, Dayton, Ohio, October–November (catalogue).
Psycho, organized by Christian Leigh, Inaugural Exhibition, KunstHall, New York, April–May (catalogue).
Frame Up, organized by Judith Tolnick, Main Gallery, Fine Arts Center, University of Rhode Island, Kingston, Rhode Island, October.
Galleria Galliani, Genoa, Italy, December.

1991
The Body in Question, organized by Gary Nickard and Melissa Harris, Burden Gallery, The Aperture Foundation, New York, January–February.
Bildlicht: Malerei Zwischen Material und Immaterialität, organized by Wolfgang Drechsler and Peter Weibel, Museum Moderner Kunst, Vienna, Austria, May–July (catalogue).
Hybrid Abstract, organized by Joshua Decter, Usdan Gallery, Bennington College, Bennington, Vermont, April–May (catalogue).
Anni Novanta, organized by Renato Barilli, Galleria Comunale d’Arte Moderna, Bologna; Musei Comunali, Rimini; ex-colonia “Le Navi,” Cattolica; May–September 1991.
Vertigo ‘The Remake’, organized by Christian Leigh, Galerie Thaddaeus Ropac, Salzburg, Austria, July–August.
After Reinhardt: The Ecstasy of Denial, organized by Max Estenger and Meg O’Rourke, Tomoko Liguori Gallery, New York, September–October (catalogue).
Conceptual Abstraction, Sidney Janis Gallery, New York, November–December (catalogue).
Les Couleurs de l’Argent, Musée de la Poste, Paris, France, November 1991–January 1992 (catalogue).
Das Goldene Zeitalter, organized by Tilman Osterwald, Wurttembergischer Kunstverein, Stuttgart, Germany, November 1991–February 1992 (catalogue).

1990
Spellbound, organized by Christian Leigh, Marc Richards Gallery, Los Angeles, California.
Art Against AIDS, Public Art Project Exhibition, Washington, D.C., May (catalogue).
Un Art de la Distinction?, organized by Caroline Bissière and Jean-Paul Blanchet, Abbaye Saint-Andre, Centre d’Art Contemporain, Meymac, France, July–October (catalogue).
Neoclassico a Trieste: Attualità del Neoclassico, organized by Dr. Ricardo Caldura, Revoltella, Trieste, Italy, Summer (catalogue).
Christian Eckart, Stephen Ellis, Alain Kirili, Imi Knoebel, Koury-Wingate Gallery, New York, September–October.
Vertigo, organized by Christian Leigh, Galerie Thaddaeus Ropac, Paris, France (catalogue).
Mise en Abîme, organized by Vittoria Coen and Anthony Iannacci, Studio La Città, Verona, Italy, October (catalogue).

1989
Horn of Plenty, organized by Gosse Oosterhof, Stedelijk Museum, Amsterdam, the Netherlands, January–February (catalogue).
Repetition, organized by Donald McKinney, Hirschl & Adler Modern, New York, February–March (catalogue).
The Silent Baroque, organized by Christian Leigh, Galerie Thaddaeus Ropac, Salzburg, Austria (catalogue).
Projects & Portfolios, organized by Barry Walker, The Brooklyn Museum of Art, Brooklyn, New York, October–December (catalogue).

1988
Redefining the Object, organized by Barry A. Rosenberg, University Art Galleries, Wright State University, Dayton, Ohio and Cleveland Center for Contemporary Art, Cleveland, Ohio (catalogue).
24 Square, organized by Saul Ostrow, University of Massachusetts, Amherst, Massachusetts.
Complexity and Contradiction, organized by Christian Leigh, Scott Hanson Gallery, New York, September–October (catalogue).
La Couleur Seule: L’Experience du Monochrome, organized by Maurice Besset and Thierry Raspail, Musée d’Art Contemporain, Lyon, France, October–December (catalogue).
Art of the 80’s: Artists from the Eli Broad Foundation Collection, Kresge Museum, Detroit, Michigan (catalogue by Phyllis Floyd Arnfield).

1987
Artist - Designed Toys, First Street Forum, Pulitzer Foundation, St. Louis, Missouri (catalogue).
Reconstruct, organized by Robert Nickas, John Gibson Gallery, New York, March–April (catalogue).
The Art of the Real, organized by Robert Nickas, Galerie Pierre Huber, Geneva, Switzerland, June–July (catalogue).
Gallery Group Show, Massimo Audiello Gallery, New York.
Primary Structures, organized by Robert Nickas, Rhona Hoffman Gallery, Chicago, Illinois.
of Ever-Ever Land i speak, organized by Christian Leigh, Stux Gallery, New York (catalogue).
Faux Arts: Surface Illusions and Simulated Materials in Recent Art, organized by Ronald J. Onorato, La Jolla Museum of Contemporary Art, La Jolla, California, October–November (catalogue).
Facture, Laurie Rubin Gallery, New York.

1986
Gold, organized by the Art Advisory Service, a project of the Associate Council of the Museum of Modern Art, New York.
Red, organized by Robert Nickas, Massimo Audiello Gallery, New York.
Tableaux Abstraits, organized by Christian Besson, Villa Arson, Nice, France, April–May (catalogue).
When Attitudes Become Form,organized by Robert Nickas, Bess Cutler Gallery, New York.
Ten Artists Working in New York and Washington, organized by Robert Feldman and Jock Reynolds, Addison Gallery of American Art, Andover, Massachusetts.

BIBLIOGRAPHY

2016
Sharsten Plenge. “Last-Look: Post-Post,” WOAH, www.woahis.us/2016/03/31/post-post/, March 31, 2016.
Katherine Ylitalo. "Work of Art: HAT Trick," Avenue Magazine, March 2016 issue, p. 162.
Carolina A. Miranda. "Christian Eckart, "post-post," at Wilding Cran." Los Angeles Times, January 28, 2016.

2015
Barbara Bergmann, "Christian Eckart: Circuit Painting #2805, 2002." Schauwerk. Sindlefingen: Schaufler Foundation, 2010. pp. 46-47.
Barbara Bergmann, “Illumination Painting (Peach), 1986, Icon-Type Painting #808, 1997.” I Like America. Schauwerk Sindlefingen: Schaufler Foundation, 2015. pp. 52-53, 135.
Molly Glentzer, “Christian Eckart has found a good groove in Houston,” Houston Chronicle, December 31, 2015.
Ric Rhodes, “Haunting Holbein: Christian Eckart, Evan Penny, Vikky Alexander,” Essay written to accompany eponymous exhibition.

2014
“LOOK AT THIS: The High-Tech Sublime of Christian Eckart”, http://www.cbc.ca/strombo/news/look-at-this-christian-eckart, February 8, 2014.
Leslie Smith, “Public Art & Private Developers,” BUILDING, December 2013/ January 2014, pp. 22-24.

2013
Valerie Fortney, “Corporate Calgary embracing public art installations,” Calgary Herald, March 16, 2013.

2012
Mark Cheetham, “Christian Eckart: Beyond the Wall,” Canadian Art, Winter 2012, pp. 116-20.
Conceptual Abstraction, catalogue for the exhibition, Times Square Gallery, Hunter College of the City of New York, New York.
Thomas Zaunschirm, "Christian Eckart: Eidolon #1101." GOLD. Agnus Husslein-Arco. Munich: Hirmer, 2012. p. 159.

2011
Scott Andrews, "Christian Eckart at McClain Gallery." Rev. of "The Absurd Vehicle and Other Propositions" Art Ltd. Mar.-Apr. 2011: p. 33.
Catherine Anspon, "Christian Eckart: The Cool, Clear Future." Texas Artists Today. Seattle: Marquand, 2010. pp. 32-35.
Douglas Britt, “ Christian Eckarts’ Absurd Vehicle is on its way out,” March 10th, 2011, www. 29-95.com.
Marcella Ducasses, “More than meets the eye at new exhibit,” Fast Forward Weekly, April 14th-20th, 2011, Volume 16, No. 19, p.17.
Rainer Fuchs, "Curved Monochrome Painting #2003, Curved Monochrome Painting #2005." Painting: Process and Expansion from the 1950s till Today. Edelbert Kob. Vienna: Walther König, 2010. p. 263.
Rachel Hooper, “Christian Eckart: The Absurd Vehicle and Other Propositions,” 2011, Art Lies, 2011, www.art-lies.org, Issue 67.
Gerard-Georges Lemaire, "Andachtsbild #720, Detail Painting #536," L'OR Dans L'art Contemporain. Anne-Marie Charbonneaux. Paris: Flammarion, 2010. pp. 70-71.
Annette Tapert, "Anything Goes." Architectural Digest,June 2011: p. 79.
Nancy Tousley, “The Durable Idiom,” Border Crossings, Issue 119, 2011, pp. 128-139.

2009
Eduardo Arroyo, "Christian Eckart: Vivienda En Houston," Diseño Interior. Nov. 2009: pp. 118-27.
Jane L. Levere, "Art Installation in Manhattan." The New York Times. 29 Dec. 2009.

2008
Holly Moore, "Christian Eckart and Jill Davies," Domestic Art: Curated Interiors. New York: Assouline, 2008. pp. 26-29.
Clint Roenisch, "Intersecting Frusta, White Painting #614." Carte Blanche: Painting. Vol. 2. Toronto, Ontario: Magenta Foundation, 2008. pp. 230-31.

2007
Catherine Anspon, "The 2007 Design Excellence Award Winners." Papercity Magazine. Houston. July 2007: p. 36.
Catherine Anspon, "Domestic Arts." Papercity Magazine. Houston. Oct. 2007: p. 52-55.
Roald Nasgaard, “Christian Eckart,” Abstract Painting in Canada. Vancouver, British Columbia: Douglas & McIntyre, Halifax, Novia Scotia, Art Gallery of Nova Scotia, 2007. 368-71.
Jen Renzi, "D&D, PDC, Etc.: Design-center giant Cohen Brothers Shows off Its Midtown Headquaters by Area." Interior Design Sept. 2007: pp. 259-64.

2006
Mario H. Gradowczyk, Arte Abstracto: Cruzando líneas desde el Sur, Universidad Nacional de Tres de Febrero, 2006.pp.177 and 225. Illus: Eidolon No. 1103, 1989, pp.131.
Christopher Willard, “Christian Eckart: Intelligent Design”, The Calgary Herald, May 20, 2006, Illus: Layered Zootrope Painting, 2006, pp. F1; Layered Zootrope Painting, 2006, pp. F8.
Kelly Klassmeyer, ”Students Shine,” Rice Sallyport, Summer, 2006, pp.38.
Gary Michael Dault, “Christian Eckart,” Border Crossings, Issue no. 97, Canada,
March, 2006, pp.115-116. Illus: Circuit Painting (Diptych), 2005, pp.116.
David Liss, “ Pornopticon,” Arte Contexto, Spain, 2006, pp.101-102. Illus: Circuit
Painting and Zootrope Painting, 2005, pp.101; Circuit Painting(Diptych), 2005, pp.102.
Robert Linsley, “TheShape of Color,”Canadian Art, Fall, 2005. Illus and pp. pending.
Professor Mark A. Cheetham, Abstract Art Against Autonomy: InfectionResistance and Cure since the 60’s, Cambridge University Press, 2006. Illus: Curved Monochrome Painting #2001, 2000, pp.92; Eidolon #1103, 1989, pp. 9; Noumena Multiple, 1990, pp. 94 and Curved Monochrome Painting #2001, 2000 rear book jacket cover.

2005
Dr. Friederike Nymphius, x_minimal, published by KehrerVerlag, Heidelberg, Germany, 2005. Illus: Installation photo of the Power-Chord Cycle as shown at Galerie Thaddaeus Ropac, 1990, pp. pending.
The Shape of Colour: Excursions in Color Field Art, 1950 – 2005, edited by Dr. DavidMoos, catalogue for the exhibition, published by the Art Gallery of Ontario, 2005. Illus and pp. pending.

2003
Alexi Worth, “The Trouble With Christian”, Artforum International – 40th Anniversary Special Issue/ The 80’s: Part One, March 2003, pp. 244. Illus: Eidolon #1102, 1989.
Jody Patterson, “Christian Eckart”,Canadian Art – Rewind,Spring 2003, pp. 98. Illus: Circuit Painting – Variation # 2807, 2002.
Kelly Klaasmeyer, “The Strategy of Sarcasm – Christian Eckart takes minimalism out of the office lobby”, Houston Press – Art,Volume 15, Number 9, 2003, pp. 48. Illus: Circuit Painting #2805– 8 Unit Array, 2003.
Catherine Anspon, “Art Notes”, Paper City, Houston – April 2003.

2002
Iconoclash – Beyond the Image Wars in Science, Religion and Art, edited byBruno Latour and Peter Weibel, catalogue for the exhibition, ZKM –Center for Art and Media, Karlsruhe, Germany, published by The MIT Center, Cambridge Mass. and London England, 2002. Illus: Eidolon Painting #1102, 1990, pp.600.
Nancy Tousley, “The Possibility of Grace; Fragmented World Unified in Allusive Pieces”, The Calgary Herald, Sunday, October 26, 2002, pp. ES6. Illus: Circuit Painting #2805, 2002, Circuit Painting #2806, 2002.

2001
Mark A. Cheetham, Kant,Art, and Art History: Moments of Discipline, Cambridge University Press, pp. 130-133. Illus: Andachtstbild #176. 1990; Eidolon #1103, 1989.
Nancy Tousley, “Radical Beauty: The Work of Christian Eckart,” Border Crossings, Vol. 20, #2, Issue #78, pp. 56-62. Illus: Circuit Painting #2801, 2001; Large Curved Monochrome Painting – Second Variation, 2001; Curved Monochrome Painting – First Variation #2001, Curved Monochrome Painting – Second Variation #2001, Curved Monochrome Painting – Third Variation #2001, 2000, Triptych (left to right); Large Curved Monochrome Painting – Fourth Variation #L-2001, 1999; Curved Monochrome Painting – Fifth Variation #2001, 2000.
Ute Damen, “Schön, Klar und Erhaben,” Offenburger Tageblatt, July 28. Illus: Installation of Large Curved Monochrome Painting – Fifth Variation, 2001.
“Felix Burda Monument,” Badische Zeitung, July 26. Illus: Production Photo of Large Curved Monochrome Painting – Fifth Variation, 2001.
Ralf Burgmaier, “Laptop statt Pinsel und Leinwand,” Badische Zeitung, July 28/29. Illus: Installation Photo of Large Curved Monochrome Painting – Fifth Variation, 2001.
Ute Damen, “Wunder und Schönheit des Lebens,” Offenburger Tageblatt, July 30. Illus: Photos of the unveiling ceremony of Large CurvedMonochrome Painting - Fifth Variation, In Memorium: Felix Burda, 2001.
Nancy Tousley, “Commission Goes On Display,” Calgary Herald, pp. E2, October 5. Illus: Photo of Large Curved Monochrome Painting – Seventh Variation, shortly after unveiling, 2001.

2000
Ann Wilson Lloyd, “In a New Millennium, Religion Shows Its Face,” The New York Times, Arts & Leisure, January 23, 2000, p. 43.
Mark Daniel Cohen, “Faith,” Review, February 15, 2000, pp. 36–41.
Nancy Tousley, “Transcendental Meditation,” Canadian Art, Spring 2000, p. 98. Illus: Endless Line Painting #1912, 1994; White Painting #601, 1987.
Els Fiers, “Kwantumkunst,” Knack, April 12, 2000, p. 88. Illus: Zootrope Painting #2508, 1999.
Grace Glueck, “Creative Souls Who Keep the Faith or Challenge Its Influence,” The New York Times, April 21, 2000, p. E39.
Ileana Marcoulesco, “Christian Eckart,” ARTNews, June 2000, p. 150. Illus: Tryptich of Curved Monochrome Paintings, Variations 1, 2, and 3, 1999.
Mary Lou Cohalan and William V. Ganis, “Abstract Painting in the ‘90s,” ArtCriticism, Vol. 14, No. 2, p. 17.
Lydia Schmid, “Kunst-Kiez Brooklyn,” Elle German edition, August 2000, pp. 42–50.
David Row, New Art Examiner, June 2000.
Marilyn Mason, The Christian Science Monitor, May 2000.
Mark Cohen, Contemporary Visual Arts, June 2000.
Faith: The Impact of Judeo-Christian Religion on Art at the Millennium, catalogue for the exhibition, Aldrich Museum of Contemporary Art, Ridgefield, Connecticut. Essay, biography and images of work, Galerie Thaddaeus Ropac website (www.ropac.net), Spring 2000.

1999
Kathryn Shattuck, “Mixing Up Perceptions, on Canvas and Off, in Calgary,” TheNew York Times, July 7, 1999.
Elizabeth Rath, “Rückblick auf die abstrakte Kunst,” Observer, August 25, 1999.
Christine Buci-Glucksmann, Abstrakt, catalogue for the exhibition, Galerie Thaddaeus Ropac, Saltzburg, Austria. Illus: Eidolon #1104, 1989; Icon-Type, Fragment #911, 1998; Icon-Type, Fragment #913, 1998.

1998
Catherine D. Anspon, “Best Art,” Paper City, October 1998.
Eva Komarek, “Aussichtsreiche Nachwuchskunst in Salzburg,” Observer, August 1, 1998.
Reinhard Kriechbaum, “Stilleben und erotisch Sublimes,” Kunstmarkt, August 14, 1998, p. G3.
John Kissick, “Sweet Sound,” Canadian Art,Spring 1998, p. 108. Illus: Zootrope Painting—Quantum Site, 1997.

1997
Mark A. Cheetham, “Icons of Abstraction,” New York Abstraction: A Symposium, Macdonald Stewart Art Center, Ontario, Canada, 1997. Illus: Eidolon #1109, 1990–96.
Greg Salzman, “The Revivalist,” Canadian Art,Summer 1997, pp. 76–78. Illus: Eidolon # 1109, 1990/96; Andachtsbild #722, 1990.
Eva Stanzl, “Antiltz und Abbild,” Der Standard-(Kulturseite), July 21, 1997, p. 8.
Cornelia Gockel, “Moderne Ikonen, Christian Eckarts Bildobjekte in der Galerie Tanit,” Suddeutsche Zeitung, Munchener Kultur, No. 170, July 26–27, 1997, p. 17.
David Garneau, “Christian Eckart’s Abstract Disturbances,” Calgary’s Fast Forward, Vol. 2, No. 25, p. 17. Illus: Eidolon #1101, 1988.
Nancy Tousley, “Critics’ Pick, Christian Eckart,” The Calgary Herald. Illus: Detail of site-specific installation of Power-Chord Cycle, 1997.
Gary Michael Dault, “Enter the Sublime,” Border Crossings,Summer 1997, pp. 44–47. Illus: Studio installation of Curved Monochrome Paintings, 1995, Vltava, 1996, Andachtsbild #722, 1990; Sacra Conversazione Painting #T-1407, 1991.
Avril Flanagan, “Interrogating the Sacred,” short essay prepared for the exhibition at Robert McClain & Co. Houston, Texas.
Gary Michael Dault, “Abstraction That Dares the Sublime,” The Toronto Globe and Mail, January 11, 1997, pp. 1–12. Illus: Andachtsbild #720, 1990.
Greg Beatty, “Reinventing the Art of Painting,” Regina Leader-Post, September 6, 1997. Illus: Detail Painting #559.
Antlitz (Coutenance): Face, Head, and Portrait in Contemporary Art, catalogue for the exhibition, Galerie Thaddaeus Ropac, Saltzburg, Austria. Illus: Zootrope Paintings—Quantum Portraits #2008, #2604, #2602, #2606, #2605, all 1997, pp. 160–165.
Review of “Disturbing Abstraction” exhibit, Slowburn,Spring 1997.
Yeardley Leonard, “Christian Eckart: Various Logic,” review of exhibition at Janis Gallery, City Search,Spring 1997.

1996
Disturbing Abstraction, catalogue for the exhibition, The Artlab, The University of Western Ontario, London, Canada.
Daniele Pabinger, “Monochrome Perfektion bie Christian Eckart,” Salzburger Nachrichten, January 9, 1996.
“Buntes Blech,” Wirtschafts Woche, No. 3, January 11, 1996, p.71.
Jane Sims, “Radical Beauty,” The London Free Press, November 16, 1996, pp. 16–17. Illus: Detail of site-specific installation of Power-Chord Cycle, 1996; Andachtsbild #722,1990; Sacra Conversazione Painting #T-1407, 1991.
Avril Flanagan, “Frames in Foreground of these Paintings,” Scene, November 1996. Illus: Andachtsbild #720, 1990.
Rainer Fuchs, catalog text, Abstrakt/Real, catalogue for the exhibition, Museum Moderner Kunst Stiftung Ludwig Wien, Vienna, Austria, pp. 182–185. Illus: Curved Monochrome Painting #2005, #2003, #2002, installation shot, 1995, p. 183; Curved Monochrome Painting #2003, 1985, p. 185.

1995
Nancy Tousley, “Christian Eckart,”Canadian Art Magazine,Fall 1995, Vol.12, #3.
Mark Cheetham, “(Again) The Sublime Is Now,” C Magazine, Issue 44, Winter 1995, pp. 26–35. Illus: Eidolon #1103, 1989.
Von Claus Lutterbeck, “New York Hautnah,” Stern, October 1995, p. 57.

1994
Matthew Ritchie, “Cruciform & Monochrome: Inquiry, Paradox & Representation,” Slittamenti/Transactions (I Love You More Than My Own Death), edited by Christian Leigh, catalogue for the exhibition, 45th Biennale di Venezia, Italy.
Matthew Ritchie, “The Anatomy of Redemption—Christian Eckart at Studio La Città,” Segno, Vol. 129, January 1994.

1993
I Am the Enunciator, catalogue for the exhibition, Thread Waxing Space, New York.
“Christian Eckart: Shadow Paintings Project,” The Print Collector’s Newsletter, January/February 1993.
Jan Avgikos, “I Can’t Quit You Babe/My Love For You I Could Never Hide,” Christian Eckart, catalogue for the exhibition, Abbaye Saint-Andre, Centre d’Art Contemporain, Meymac, France.
Christopher Blase, “20 Years of Galerie Tanit,” Forum International, March/April 1993, pp. 109–113. Illus: Odyssey Painting #208, 1987–1990.
Fabrice de Kerchove, “Christian Eckart: La Peinture en Question,” Art et Culture, May 1993. Illus: Andachtsbild, 1988.
Stephane Rey, “Moulures...” L’Echo de la Bourse, May 3, 1993.
Joannes Kesenne, “Christian Eckart,” Kunst & Cultuur, June 1993, pp. 56–57. Illus: Eidolon #1107, 1989.
Didior Arnaudet, “Une Navigation sans Fin,” ETC, No. 22, Summer 1993, pp. 38–39. Illus: Small Monochrome #1502, 1991.
“Christian Eckart: The Power-Chord Cycle,” The Print Collector’s Newsletter, Vol. XXIV, No. 4, September/October 1993, pp. 145–146.
Luigi Meneghelli, Christian Eckart/Luigi Carboni, catalogue for the exhibition, Studio La Città, Verona, Italy.
Luigi Meneghelli, “Luigi Carboni/Christian Eckart,” Segno, Vol. 128, December 1993. Numerous illus. Living with Art: The Collection of Ellyn & Saul Dennison, catalogue for the exhibition, The Morris Museum, Morristown, New Jersey. Illus: A.A.Z. #5, 1986, p. 52.

1992
“Andachtsbild Studies,”Balcon, Special Project, No. 7, December 1992.
Edmund Campion, “Art Dealers: Thaddaeus Ropac,” Galeries Magazine, February/March 1992, pp. 98–105. Illus: Installation, The Power-Chord Cycle, 1991.
“Tanit Zeigt Eckart-Werke,” Kolner Stadt-Anzeiger, March 6, 1992, p. 56.
Nothing New: The Positive Absence of Originality in Art, catalogue of the exhibition, Studio La Città, Verona, Italy.
Psycho, catalogue for the exhibition, Inaugural Exhibition, KunstHall, New York, essays by Christian Leigh, Octavio Zaya, Donald Kuspit, and Adrian Dannatt. Illus: New O.D. #1702, 1992.
Quotations: The Second History of Art, catalogue for the exhibition, The Aldrich Museum of Contemporary Art and the Museum of Contemporary Art at Wright State University, essays by Christian Leigh and Marc J. Strauss, pp. 38–39. Illus: Eidolon #1106, 1989.
Luigi Meneghelli, “Nothing New at Studio La Città 2,” FlashArt, Italian Edition, Fall 1992, p. 112.
“Helene de Franchis,” Seven Seas, No. 5, September 1992, pp. 36–39.
Matthew Ritchie, “Mene, Mene Tekel Upharsin,” written for the opening of the Shadow Paintings Project at Rubin Spangle Gallery, October 17, 1992.
Brad Trayser, “Tea with Christian Leigh,” New Art Examiner, September 1992, pp. 21–23.
Anthony Iannacci, “Nothing New: La Positiva Assenza di Originalità nell’Arte,” Titolo, pp. 50–51. Illus: Detail Painting #550, 1990.

1991
Adrian Dannatt, “Vertigo: La Peur de L’(H)auteur,” FlashArt, January/February 1991, p. 121. Illus: Sacra Conversazione #1301, 1990.
Francoise-Claire Prodhon, “Vertigo,” Galeries Magazine, December 1990/January 1991, p. 132.
Kirby Gookin, “The Real, the Ideal, the Signified,” (reprinted essay), catalogue for the exhibition, Joseloff Gallery, University of Hartford, Hartford, Connecticut. Numerous illus.
Owen McNally, "No Hype, Just ‘The Signified,‘” The Hartford Courant, January 30, 1991, pp. C1–C2.
Saturday Review, Vancouver Sun, January 19, 1991, pp. 10–11.
Jude Schwendenwien, “A Little Background Is Best before Viewing Eckart Works,” The Hartford Courant, February 24, 1991, p. G8.
Christian Eckart, catalogue to accompany “The Power-Chord Cycle,”Illingsworth Kerr Gallery, Calgary, Alberta, Canada, essays by Joshua Decter and Nancy Tousley.
Roberta Smith, “Christian Eckart,” The New York Times, May 3, 1991, p. C21.
“Christian Eckart,” The New Yorker, May 13, 1991, p. 15.
Holland Cotter, “Deconstructed Painting: Some Younger Artists in the 1980s,” Art Journal, Vol. 50, Spring 1991, pp. 79–82. Illus: White Painting #611, 1988.
Wolfgang Drechsler and Peter Weibel, Bildlicht: Malerei Zwischen Material und Immaterialität, catalogue for the exhibition, Museum Moderner Kunst, Vienna, Austria. Illus: Eidolon #1102, 1989, p. 299.
Hiromi Honda, “Christian Eckart,” Agora, June 1991, pp. 70–71.
Christian Leigh, Vertigo, catalogue for the exhibition, Galerie Thaddaeus Ropac, Salzburg, Austria. Illus: Sacra Conversazione #1301, 1990, and installation view.
Max Estenger and Meg O’Rourke, After Reinhardt, catalogue for the exhibition, Tomoko Ligouri Gallery, New York. Illus: Odyssey Suite Portfolio, 1988.
Faye Hirsch, “Christian Eckart,” Arts, October 1991, p. 81. Illus: Sacra Conversazione #T-1403, 1991.
Adrian Dannatt, “Christian Eckart: Thaddaeus Ropac,” FlashArt, October 1991, p. 148.
Richard Kalina, “Christian Eckart at Rubin Spangle,” Art in America, October 1991, pp. 145–146. Illus: Sacra Conversazione #1309, 1991.
Deborah Gimelson, “The Outsiders,” Connoisseur, December 1991.
Das Goldene Zeitalter, catalogue for the exhibition, Wurttembergischer Kunstverein Stuttgart, Stuttgart, Germany. Illus: Andachtsbild #711, 1987–90, p. 90.
Les Couleurs de L’Argent, catalogue for the exhibition, Musée de la Poste, Paris, France. Illus: Eidolon, 1989, p. 236.
Anni Novanta, catalogue for the exhibition, Galleria Comunale d’Arte Moderna, Bologna, Italy, pp. 52–53. llus: Andachtsbild #720, 1990; White Painting #621, 1990; Sacra Conversazione #302, 1990; Icon-Type #806, 1989; pp. 52–53.
Luis Perez Oramas, “Christian Eckart/Diego Velasquez: Ensayo de Analogia,” Atlantica, No. 2–3, November 1991, pp. 121–127.
Conceptual Abstraction, catalogue for the exhibition, Sidney Janis Gallery,New York. Illus: Square Monochrome #1602, 1991.
Nikkei Image Climate Forecast. Illus: Sacra Conversazione #1307, 1990.

1990
Susan Tallman, “Prints and Editions: The Other Biennial,” Arts Magazine, Feb. 1990. Illus: Cimabue Restoration Project, pp. 17–18.
Jed Perl, “Gold Rush,” Vogue, February 1990, pp. 216, 225.
“Christian Eckart,” Arts Magazine, February 1990, p. 101.
Xavier Girard, “Les Vingt de Groeninge,” Galleries, February/March 1990. Illus: Andachtsbild, 1987.
Octavio Zaya, “The Silent Baroque: A Conversation with Christian Leigh and Octavio Zaya,” Balcon, No. 5/6, pp. 46–65. Illus: back cover, Eidolon #1102.
Antonio Zaya, “Twin Thought,” Balcon, No. 5/6. Illus: Odyssey #1002.
Phyllis Freeman et al., eds.,New Art, Harry N. Abrams, New York. Illus: After Malevich (Reified Accordingly), 1986; White Painting(#102), 1987; pp. 52–53.
Kirby Gookin, The Ideal of the Real, catalogue for the exhibition, Galerie Philippe Kriwin, Brussels, Belgium.
Anita Ardon, “Christian Eckart,” Le Drapeau Rouge, April 25, 1990.
Pierre Stercks, “Christian Eckart et Allan McCollum: Avatars Actuels du Monochrome,” Artstudio, Spring 1990, pp. 128–139. Ills: Regular Painting #1207, 1989; White Painting #603, 1987; Andachtsbild #714, 1989.
Nancy Tousley, “Painting in the World: The Work of Christian Eckart,” Canadian Art, Vol. 7, No. 3, Fall 1990, pp. 68-75. Illus: Andachtsbild #720, 1990 (frontispiece); White Painting #621 Odyssey (Red & Silver) #3, 1986; Odyssey Painting (Diptych Variation) #108, 1988; Andachtsbild #706, 1987–89; Eidolon #1108, 1990.
Vittoria Coen and Anthony Iannacci, Mise en Abîme, catalogue for the exhibition,Studio La Città, Verona, Italy. Illus: Icon-Type, 1987, p. 32; White Painting, 1990, p. 32; Andachtsbild, 1987, p. 32; Odyssey (DiptychVariation), 1987, p. 33; Eidolon, 1989, p. 34; Odyssey Painting #208, 1987–90, p. 35.
Un Art de la Distinction?catalogue for the exhibition, Abbaye Saint-Andre, Centre d’Art Contemporain, Meymac, France, catalog essay on Christian Eckart pp. 64–70. Illus: White Painting #617, 1990, p. 66; Detail Painting #531, 1989, p. 67; Regular Painting, 1989, p. 70.
Art Against AIDS, catalogue for the exhibition, Public Art Project Exhibition, Washington, D.C. Illus: White Painting #614, 1990, p. 19.
Neoclassico a Trieste: Attualità del Neoclassico, catalogue for the exhibition, Revoltella, Trieste, Italy, text by R. Caldura on Christian Eckart on p. 63. Illus: White Painting #612, 1990, p. 62; Andachtsbild #720, 1990, p. 63.
Nancy Tousley, “Suite Strikes Potent Chord,” The Calgary Herald, November 18, 1990.

1989
Herbert Muschamp, “A Big Influence,” Vogue, January 1989, pp. 98–100. Illus: Andachtsbild #708, 1988 (detail).
Gosse Oosterhof and Dan Cameron, Horn of Plenty, catalogue of the exhibition, Stedeilijk Museum, Amsterdam, the Netherlands. Illus: Odyssey (Diptych Variation) #107, 1988, p. 16; Icon Type #805, 1988, p.39; White Painting #610, 1988, p. 62; Eidolon #1101, 1988, p. 77.
Phyllis Floyd with Kevin Arnfield, Art of the 80’s: Artists from the Eli Broad Foundation Collection, catalogue for the exhibition, Kresge Museum, Detroit, Michigan.
Repetition, catalogue for the exhibition, Hirschl & Adler Modern, New York, catalogue essay by John Yau. Illus: Odyssey #1002, 1987, pp. 66–67.
Uta M. Reindl, “Horn of Plenty,” Kunstforum International, April/May 1989.Illus: White Painting #610, 1988.
Marja Bosma, “Horn of Plenty,” Contemporanea, May 1989, p. 94. Illus: White Painting #610, 1988.
Barry Walker, Projects & Portfolios, catalogue for the exhibition, The Brooklyn Museum of Art, Brooklyn, New York. Illus: Cimabue Restoration Project, 1988, cat. no. 27.
Michael Kimmelman, “At a Show Featuring Prints, the Subject Is Ambition,” The New York Times, October 6, 1989.
Kirby Gookin, “Christian Eckart at Massimo Audiello Gallery,” Art Today (Video Magazine), Vol. 1, No. 2.
Christian Leigh, The Silent Baroque, catalogue for the exhibition, Galerie Thaddaeus Ropac, Salzburg, Austria. Illus: Eidolon #1102, work in progress in the studio, 1989, p.52; project for the book, pp. 188–192.

1988
Pat McCoy, “of Ever-Ever Land i speak,” Artscribe, January/Febuary 1988.
Alexander Puhringer, “Christian Eckart,” Noema, No. 16. Illus: Icon Type#801; Detail Painting #519.
David Leiber, “Christian Eckart and the Problems of Complexity in Modern Painting,” Arts Magazine, March 1988, pp. 82–85 Illus: Andachtsbild #703, cover; Detail Painting #519; Illumination-Gray, Icon Type #801.
Dan Cameron, Redefining the Object, catalogue for the exhibition, University Art Galleries, Wright State University, Dayton, Ohio. Illus: Detail Painting #518, 1987; Odyssey (blue and gold) #3, 1986.
Joseph Scanlan, “Primary Structures,” Dialogue: An Art Journal, January/February 1988, p. 26.
Christian Leigh, Complexity and Contradiction, catalogue for the exhibition, Scott Hanson Gallery, New York. Illus: Andachtsbild #705, 1987.
Borris Brollo, “Christian Eckart,” Juliet Art Magazine, April/May 1988. Illus: Icon Type #801; Odyssey (Diptych Variation) #1002.
Heinz Schutz, “Christian Eckart,” Kunstforum, February/March 1988. Illus: Detail Painting #502; Odyssey (Diptych Variation) #1002.
Claudia Hart, “Signs of the Cross,” ArtForum International, September 1988. Illus: Eidolon #1101; Odyssey (Blue and Gold) #3; Andachtsbild #702; Andachtsbild #703; White Painting #604.
Kay Larson, “Golden Oldies,” New York Magazine, October 10, 1988, p. 70. Illus: Andachtsbild #712, p. 70.
La Coleur Seule: L’Experience du Monochrome, catalogue for the exhibition, Musée de l’Art Contemporain, Lyon, France. Illus: Icon Type #801, 1987, p. 275.
Catherine Grout, “Christian Eckart: Galerie Laage-Salomon,” Art Press, November 1988, p. 76. Illus: White Painting, 1988.

1987
Stephen Westfall, “Christian Eckart at Massimo Audiello,” Art in America, February 1987.
Reconstruct, catalogue for the exhibition, John Gibson Gallery, New York. Illus: White Painting #3, 1987.
The Art of the Real, catalogue for the exhibition, Galerie Pierre Huber, Geneva, Switzerland. Illus: White Painting #103, 1987, p. 18; Illumination-Gray, 1987, p. 19.
Thomas Zaunschrim and Alexander Puhringer, “Neo-Konzeptualismus Szene New York,” Noema, April/May 1987.
Catherine Queloz, “New York: Inside the White Cube,” Faces: Journal d’Architectures, No. 5/6, Spring 1987.
Robert Nickas, “Un Art du Reel,” Halle Sud, No. 15, June 1987, pp. 6–9. Illus: White Painting, 1987.
of Ever-Ever Land i speak, catalogue for the exhibition, Stux Gallery, New York.
Claudia Hart, “Reconstruct,” Artscribe, September/October 1987.
Ronald J. Onorato, Faux Arts: Surface Illusions and Simulated Materials in Recent Art, catalogue for the exhibition, La Jolla Museum of Contemporary Art, La Jolla, California.Illus: White Painting #601, 1987.
Hanne Wescott, “Zwischen Pseudoklassizismus und Realismus,” Suddeutsche Zeitung, November 12, 1987.
Alan G. Artner, “At the Galleries: Christian Eckart at Rhona Hoffman Gallery,” Chicago Tribune, December 5, 1987.
Gabi Czoppan, “Tafel als Bild,” Muncher Stadt Zeitung, December 1987.
“Christian Eckart”, catalogue for the exhibition, Galerie Tanit, Munich, Germany, essay by Heinz Schütz. Illus: Detail Painting #519, 1987; Andachtsbild #703, 1987; Icon Type #801, 1987; Odyssey (Diptych Variation) #1001, 1987.

1986
Robert Nickas, “Christian Eckart,” Flash Art, October/November 1986.
Christian Besson, Tableaux Abstraits, catalogue for the exhibition, Villa Arson, Nice, France. Illus: A.A.Z. #9, 1986, p. 33.
Art as Toys, catalogue for the exhibition, First Street Forum, Pulitzer Foundation, St. Louis. Missouri.
Kim Levin, “Christian Eckart,” Village Voice,November 25, 1986.

PUBLISHED INTERVIEWS

2005
Dr. Carolyn Farb, “Think Piece,” Brilliant – Texas Style and Substance, February, 2005, pp. 44. Illus: Circuit Painting #2802, 2000 and Sacra Conversazione Painting #1302, 1990.

1996
Jade Dellinger, Inspire: New York Art Report,interview segment for Japanese television, produced by Mr. Kajima.

1995
Jennifer Webber, “Rough Cuts” section, Alberta News, Canadian Broadcasting Corporation, March 1995, video length 3:30.
Jennifer Webber, National News, Canadian Broadcasting Corporation, December 1995, video length 11:20.

1993
Eddy Devolder, “Christian Eckart/Michael Van Offen: Entretien,” ArteFactum, September/October/November 1993. Illus: White Painting 1990; Detail Painting, 1993.

1991
G. Ciavoliello and R. Vidali, “Christian Eckart,” Juliet, April/May 1991, pp. 53.
Alexander Puhringer, “9 Fragen am Christian Eckart,” Noema, No. 35, April 1991, pp. 40–43.
Eddy Devolder, “Christian Eckart,” Belgian television, June 1991.

1990
Jonathan Seliger, “Interview with Christian Eckart,” Journal of Contemporary Art, Vol. 3, No. 1, Spring/Summer 1990, pp. 48–58. 

LECTURES

2004
School of Art, University of Houston, Houston, Texas.

2003
The Modern Art Museum of Fort Worth, Tuesday Nights at the Modern.
University of New Orleans, Graduate and Undergraduate Departments of Art, New Orleans Louisiana.

2002
Alberta College of Art and Design – Premiere Visiting Artist Lecture Series, Calgary, Alberta, Canada.
James C. Mumby Visiting Artist Program, Pennsylvania Academy of the Fine Arts – Museum School, Philadelphia, Pennsylvania.
School of Art (Painting), University of Houston, Houston, Texas.
Art History Department, Rice University, Houston, Texas.

2001
University of Lethbridge, Lethbridge, Canada.
Alberta College of Art and Design, Calgary, Canada.
Keyano College, Fort McMurray, Canada.
The Aldrich Museum of Contemporary Art, Ridgefield, Connecticut, in conjunction with “Faith: The Impact of Judeo-Christian Religion on Art at the Millennium.”

2000
Department of Art, Florida State University, Tallahassee, Florida, on the occasion of the opening of “Pleasure of Sight & States of Being: Radical Abstract Painting since 1990.”

1999
Hanzehogeschool, Academie Minerva, Hogeschool of Groningen, the Netherlands.

1998
Windsor Art Gallery, Windsor, Ontario, Canada, in conjunction with “Disturbing Abstraction.”
Edmonton Art Gallery, Edmonton, Alberta, Canada, in conjunction with “Disturbing Abstraction.”
Contemporary Art Society, Vancouver, British Columbia, Canada.
Department of Fine Art (Painting), University of Houston, Houston, Texas.
Robert McClain & Co., Houston, Texas, in conjunction with “New Models: Envisioning the Real in Abstraction.”

1997
Robert McClain & Co., Houston, Texas, in conjunction with “Christian Eckart.”
Graduate Department of Fine Arts, Yale School of Art, New Haven, Connecticut.
Nickle Arts Museum, University of Calgary, Calgary, Canada, in conjunction with “Disturbing Abstraction.”
Art Gallery of North York, Toronto, Canada, in conjunction with “Disturbing Abstraction.”
Mackenzie Art Gallery, Regina, Canada, in conjunction with “Disturbing Abstraction.”

1996
“Abstract Practice” Symposium, “Picturing God: An Economy of the Zero-Project in the Twentieth Century,” Salzburg, Austria.
School of Art, University of Western Canada, London, Canada, in conjunction with “Disturbing Abstraction.”

1992
The Aldrich Museum of Contemporary Art, Ridgefield, Connecticut, in conjunction with “Quotations: The Second History of Art.”
University of Rhode Island, Kingston, Rhode Island.
Graduate Department of Fine Art, School of Visual Arts, New York.

1991
University of Hartford, Hartford, Connecticut, in conjunction with “The Real, the Ideal, the Signified.”
Alberta College of Art, Alberta, Canada, in conjunction with “The Power-Chord Cycle.”
College Art Association, International Art History Conference, New York.
Contemporary Art Society, Vancouver, Canada.

1990
Art Center College of Art and Design, Pasadena, California.

1989
Nova Scotia College of Art and Design, Halifax, Canada.

CURATORIAL PROJECTS

2015
“…a pointy toe boot up the backside”, POST-ABSTRACTION FROM HOUSTON, Wilding Cran Gallery, Los Angeles, California, September- November.

2006
Shine,Rice BFA Graduating Exhibition 43, Rice University Art Gallery,Houston, Texas, April – May.

2003
Space Vehicles: Illusion Objectified, McClain Gallery, Houston, Texas (Including catalogue and introduction).
Bad Attitude, The School Of Visual Art–Wooster Street Gallery, New York,February.

2000
Faith: The Impact of Judeo-Christian Religion on Art at the Millennium,organized by Christian Eckart, Harry Philbrick, and Osvaldo Romberg, The Aldrich Museum of Contemporary Art, Ridgefield, Connecticut, January–May (including catalog essay).

1998
New Models: Envisioning the Real in Abstraction, Robert McClain & Co. Fine Art, Houston, Texas, September–October (including essay).

1997
In Dub on Paper, The School of Visual Art–Wooster Street Gallery, New York, March. 

WRITINGS

2005
“Ellsworth Kelly, Blue White, 1960,” The Shape of Colour: Excursions in Color Field Art, 1950 – 2005, edited by Dr. David Moos, catalogue for the exhibition, published by the Art Gallery of Ontario, 2005. pp. 46 &47.

2003
“Space Vehicles: Allusion Objectified,” introductory catalogue essay for an exhibition by the same name, organized by Christian Eckart, McClain Gallery, Houston, Texas.

2002
“Regarding a Motivational Economy of the Andachtsbild,” written as a response to a public presentation by Nancy Tousley.

2000
“Internalizing the Sacred: The Interrogative Artwork as a Site of Transubstantiation,” Faith: The Impact of Judeo-Christian Religion on Art at the Millennium, catalogue essay for the exhibition, organized by Christian Eckart, Harry Philbrick, and Osvaldo Romberg, The Aldrich Museum of Contemporary Art, Ridgefield, Connecticut, pp. 34–41.
Text for Galerie Thaddaeus Ropac website (www.ropac.net), co-authored by Lena Maculan.
Essay for Jon McCafferty: Nominal Paintings, catalogue for exhibition, Jay Grimm Gallery, New York, pp. 7–9.
Press release for “Circuits & Zootropes” exhibition, Galerie Tanit, Munich, Germany.

1999
“The Landscape Within,” introductory essay for a book about the Danish artist Anne Sofie Horneman.

1998
Essay for “New Models: Envisioning the Real in Abstraction” exhibition, Robert McClain & Co., Houston, Texas.

1997
Booklet on The Power-Chord Cycle project, prepared in conjunction with the acquisition of the project by the Guggenheim Museum, New York.
“Gott Malen—Zur Okonomie Des Nichts—Projekte im 20 Jahrhundert”, translated by Otto Neumaier, Noema Art Journal, No. 44, June–July 1997, pp. 51–53. Illus: Small Curved Monochrome Painting #2105, 1995; Small Curved Monochrome Painting #2106, 1995.

1996
“Picturing God: An Economy of the ‘Zero Project,’” Disturbing Abstraction, catalogue for the exhibition, The Artlab, The University of Western Ontario, London, Canada. pp. 36–40. 

SELECT PUBLIC & PRIVATE COMMISSIONS

2016
Prudential Center, Boston, Massachusetts. Q.E.D., 2016, 13.5' x13.5' x 32.5"
Cadillac Fairview Corporation for Calgary Centre Calgary, Alberta, Canada. Sacra Conversazione Painting–Versione Follia, 2016 15' x 9' x 30"

2015
William P. Hobby Airport Terminal. Houston, Texas. Cloud Room Field, 2015 10’x 60’x13”

2013
Oxford Properties Group, Centennial Place, Calgary, Alberta, Glass Hexagonal Perturbation- HAT TRICK, 2013 24’x 80’x 10’
Private Office, Toronto, Canada, Polychrome Paintings, 2013 69” x 45” x 3”
Liberty Mutual, Boston, Massachusetts, Hexagonal Perturbation Entreaty, 2013 9’x 12’x 4’

2011
Li Ka Shing Knowledge Institute, at St. Michael’s Hospital and Church, Toronto, Ontario, Glass Hexagonal Perturbation- Hive Brane, 2011 11’x 33’x 7’
805 3rd Avenue, Cohen Brothers Realty, New York, New York. Intersecting Orbits , 2011 18' Sphere.

2007
Decorative Center Houston, Houston, Texas. Large Zootrope Painting 1 & 2 20' x 12' and Five Unit Superimposed Circuit Painting, 16’x9’

2006
Cohen Brothers Realty, New York, New York. (2) 3 Unit Superimposed Circuit Painting, Each 75”x 60” Budget: $150,000

2005
Brown Rudnick, New York, New York, through Susan Fulmer Fine Art, Boston, Massachusetts. Interior Design by Gensler, New York, New York. Circuit Painting-6 Unit Array-Variation 1, 62” x 100”

2002
BurdaMedia, MedienPark, Offenburg Germany, through Galerie Thaddaeus Ropac, Paris, France and Salzburg, Austria. Large Curved Monochrome Painting-In Memorium for Felix, 174”x 72”x 15”

2001
Oxford Properties Group, Ltd. With partners OMERS Realty Corp. &British Columbia Investment Management Corp., Ernst & Young Millenium Tower Calgary, Canada, through Trépanier Baer Gallery, Calgary, Canada. Curved Mononchrome Painting- 4 Unit Array, Four parts 60” diameter- 6” deep- 21’x 7’x 8”

1996
Museum of Modern Art, New York, New York, Art Advisory Service, for the Collection of Reboul, MacMurray, Hewitt, Maynard, and Kristol, N.Y.C. The Conversation 60”x 180

And many others throughout North America and Europe.