Troy Brauntuch

Troy Brauntuch (b. 1954, Jersey City, New Jersey) Troy Brauntuch graduated from the California Institute of the Arts with a Bachelor of Fine Arts. His work has been exhibited both nationally and internationally for over fifty years. Brauntuch exhibited in the seminal show Pictures at Artists Space in 1977 in New York, along with Jack Goldstein, Robert Longo, Philip Smith, and Sherrie Levine. His works are held in numerous private and public collections including the Pinault Foundation, Paris; The Museum of Modern Art, New York; The Whitney Museum of American Art, New York; The Metropolitan Museum of Art, New York; The Museum of Contemporary Art, Los Angeles; The Hirshhorn Museum and Sculpture Garden, Washington, D.C.; The San Francisco Museum of Modern Art, San Francisco; The Dallas Museum of Art, Dallas; The San Diego Contemporary Arts Museum, San Diego; and The Israel Museum, Jerusalem. Brauntuch’s work was included in Day for Night, the 2006 Whitney Biennial in New York. In the summer of 2007, a survey exhibition of his work from 1990–2007 was exhibited at the Magasin-Centre National d’Art Contemporain in Grenoble, France. In 2009, his work was included in The Pictures Generation, 1974–1984, at The Metropolitan Museum of Art. In 2010, JRP/Ringier published a monograph book of works from 1975–2008. His work was also featured in Where Art Might Happen: The Early Years of CalArts at the Kestner Gesellschaft in Hannover, Germany, which traveled to Kunsthaus Graz in Austria in 2020. He is represented by Petzel, New York and Mai 36, Zurich. A major essay on Brauntuch’s work was recently published in art critic and historian Alexander Bigman’s book, Pictures and the Past (The University of Chicago Press, Chicago and London, 2024). Brauntuch also has a solo exhibition, Rodeo, currently on view at The Warehouse in Dallas, Texas, until January 30, 2026. He currently divides his time between New York, NY and Austin, TX. "Brauntuch’s real quarrel has always been with beauty: what lies beneath it and how to navigate its often seductive amorality. He is a superb technician, and few would deny this show’s funereal splendor." —Zack Hatfield, Artforum , April 2020