Here is a selection of Marina Warner's art essays and reviews from 1988 to the present, published in artists monographs, catalogues, magazines, journals, newspapers and online. The list is incomplete.


MW contributes 'Floored by Wonder' to the celebratory 500 page closing print issue of
Parkett, volume 100/101. More information can be found here.

MW has contributed to ‘Conversations in Time’ a series of new conversations inspired by Suzi Gablik's important book, Conversations Before the End of Time, first published in 1995. Artists, writers and cultural thinkers have been recorded today, broadly inspired by the question posed in Gablik’s book:
What is the purpose or role of art in an age of accelerating social change and environmental uncertainty?
These conversations and the audiobook of Gablik’s book are distributed within the Public Programme ‘Conversations in Time’, part of the European Capital of Culture Aarhus 2017.
Marina Warner in conversation with Jimmie Durham can be streamed here

MW has contributed 'Floored by Wonder' to Parkett 100/101 'Grounding Vision', forthcoming.

MW has contributed 'Signature Measures: Julie Mehretu's Disfigurations' in 'A Universal history of Everything and Nothing' co-published by Fundação de Serralves and Fundacion Botin with Mousse Publishing, 2017. The book features an essay by Suzanne Cotter and newly commissioned texts by Amin Malouf, published as part of Julie Mehretu: A Universal History of Everything and Nothing at Serralves Museum of Contemporary Art, Porto, Portugal. More info can be found here.

Binding Enchantments' by Marina Warner, published in the Venice Biennale catalogue LP Mondo Magico, ed. Cecilia Alemani, 2017

MW has contributed a text to celebrate the opening of Ana Maria Pacheco's exhibition Dispersing the Night at for Salisbury Cathedral, which can be read here.
This is an excerpt from The Enchanted Garden of Ana Maria Pacheco in Ana Maria Pacheco|Norwich 2015, Pratt Contemporary, 2015, pp.15-19, Marina Warner @ 2015.
More information about Ana Maria Pacheco's exhibition Dispersing the Night exhibition at the Cathedral can be found here.

MW's introduction to Down Below by Leonora Carrington, (NYRB Classics 2017) discussed in Swimming under cemeteries by Lorna Scott Fox published in The TLS 05 May 2017, pp 3-5
The article can be found here http://www.the-tls.co.uk/articles/public/leonora-carrington/

'From high society to surrealism: in praise of Leonora Carrington – 100 years on' With her paintings and tales based on dreams, animals and the occult, Carrington was an uncanny original. Marina Warner salutes the artist on her centenary, published in The Guardian Review on 01 April 2017, p18 here.

Magical Aesthetics by Marina Warner, published in the forthcoming catalogue to 'Christian Thompson: Ritual intimacy, 27 April – 8 July 2017 at Monash University Museum of Art . More information here.


MW has contributed 'Joan Jonas and the scene of time' pp56-81 to Theatrical Fields: Critical Strategies in Performance, Film, and Video Published by NTU CCA Singapore, König Books, London, and Bildmuseet, Umeå, Edited by Ute Meta Bauer and Anca Rujoiu. More information can be found here.

MW has contributed the essay 'The perforate Self or Nought is Not Naught' to Anish Kapoor - Archaeology: Biology, Folio 043 published by MUAC Museo Universitation Arte Contemporaneo, UNAM 2016, pp 84-90, with essays by Cecilia Delgado Masse, Catherine Lampert, Jaime Soler Frost, Pablo Soler Frost, Douglas Maxwell, Hommi K. Bhabha, Lee Ufan and Julia Kristeva. More info can be found here.

MW has contributed to the 'Bridget Smith - Now It is Permitted: 24 Wayside Pulpits'
Artist in residence at the Swedenborg Society, Bridget Smith, presents an exhibition of ongoing work Now It is Permitted: 24 Wayside Pulpits. Inspired by a collection of 24 New Church 'wayside pulpits' from the 1950s held in the archive at Swedenborg House, the exhibition features 58 newly commissioned visionary statements from invited artists, writers, musicians, playwrights and filmmakers. Co-curated with the Swedenborg Society's Director Stephen McNeilly, and designed by the Fraser Muggeridge studio, the posters will be on display at Swedenborg House, the Window Gallery in Conway Hall and around other Bloomsbury Festival venues 2016.

MW contributes essay ' Leonora Carrington: Badger' to Leonora Carrington in The Viktor Wyind Museum booklet, Leeds College of Art, August 2016. More informatiocan be found here.

MW contributes essay on illustrator Kay Nielsen and the fairy tales that inspired him 'Dreams of Enchatment' to The Folio Magazine pp3-7, more details can be found here.

MW has contributed an essay to the catalogue of 'Leonora Carrington / Lucy Skaer' co-edited by the curator and Jonathon P. Eburne, Leonora Carrington and the International Avant-Garde (Manchester University Press 2016). Details to follow.

MW contributed to Cornelia Parker's exhibition 'FOUND' at the Foundling Museum, 27 May 2016 — 04 September 2016.
For this major exhibition, Foundling Fellow Cornelia Parker has invited over sixty outstanding artists from a range of creative disciplines to respond to the theme of 'found', reflecting on the Museum's heritage.
Combining new and existing work with found objects kept for their significance, the exhibition will unfold throughout the Museum, interacting with historic works in the Collection and with each other. Parker's inspiration has in part been taken from the Museum's eighteenth-century tokens – small objects left by mothers with their babies as a means of identification should they ever return to the Foundling Hospital to claim their child.
Artists participating in FOUND include: Ron Arad RA, Phyllida Barlow RA, Jarvis Cocker, Richard Deacon RA, Tacita Dean RA, Jeremy Deller, Edmund de Waal, Brian Eno, Antony Gormley RA, Mona Hatoum, Thomas Heatherwick RA, Christian Marclay, Mike Nelson, Laure Prouvost, David Shrigley, Bob and Roberta Smith RA, Wolfgang Tillmans RA, Marina Warner and Rachel Whiteread. Twenty Royal Academicians are contributing to the show, echoing the role that the Foundling Hospital played in the development of the Royal Academy. Founded in 1739 to care for babies at risk of abandonment, the Foundling Hospital was supported by the leading artists of the day, many of whom donated work, thanks to the revolutionary involvement of the artist William Hogarth and the composer George Frideric Handel. The Royal Academy's origins can be traced to the collective mobilisation of artists and the promotion of British art that took place at the Hospital during the eighteenth century.
More information can be found here.

'Finders Keepers' MW describes the intruiing item that she has contributed to a major exhibtiion of found objects. curated by Cornelia Parker RA at the Foundling Museum for RA Magazine, Summer 2016 page 24, also feastured in The Guardian, 25 May 2016 here.

MW contributed 'Visions of the Honeycomb' an essay for Incidents of Travel in the Multiverse by AL and AL published by Cornerhouse UK 2016) pp 68-76. Published to accompany the exhibition at HOME, Manchester, 6 Feb – 27 Mar 2016. Curated by Bren O'Callaghan & Sarah Perks.More details can be found here.


'Falling Idols: Public monuments, Islamic State and contesting the story of the past' by Marina Warner, first published in Frieze Issue 174, October 2015, here.

MW contributes 'Wild Ecstasy' to Textus: English Studies in Italy n. 3 (2014) pp 213-230 more details can be found here.

MW contributes 'The springs beneath, the flow above, the light within' to Cristina Iglesias 'Tres Aguas', published by Artangel and Turner 2015 (pp 55-67). More details can be found here.

''Joan Jonas: The Taste of the Clouds' an essay for Joan Jonas: They Come To Us Without A Word' pp 30-40 written by Marina Warner published by Hatje Cantz, Germany 2015, details can be found here.

MW writes obituary for artist and curator Felicity Powell, published in the The Guardian here, 18th May 2015. MW contributes 'The Enchanted Garden of Ana Maria Pacheco' to Ana Maria Pacheco: Sculpture Norwich 2015' published by Pratt Contemporary 2015, pp15-19


MW contributes 'Pierre Huyghe: Vacant Posession'to Robert Lehman Lectures on Contemporary Art No.5 , published by DIA Art Foundation, New York 2014, p129-14

MW has contributed an essay to 'David Parker: Myth and Landscape' published by Art Books Heidelberg (2014) ISBN 978-3-86828-589-5

'The Music of Myth' in Glyndebourne Festival 2013 Programme (does it have another title?), pp. 32-35 (Summer 2013)

'Contradictory Curiosity', in the exhibition catalogue of Curiosity: Art and the Pleasures of Knowing, pp 25-41, curated by Brain Dillon, Turner Contemporary, Margate. (June 2013)

'Marina Warner in conversation with Omar Berrada' as part of 'Meanwhile...History*', Global Art Forum 8, Doha, March 19-21 2014) in Bidoun #28: Interviews, (Abu Dhabi: March 2014 OR 2013?)

'The reality bodily before us: picturing the Arabian Nights', in Fictions of Art History,  ed. Mark Ledbury, intro Michael Hatt and Mark Ledbury, [Clark Studies in the Visual Arts series] (Yale University Press, 2013).

'Icons of Modern Life', Introduction to Man Ray Portraits by Terence Pepper, a fully-illustrated catalogue accompanying the exhibition at the National Portrait Gallery. (February 2013)

MW has contributed 'Helen - A Eulogy' to 'Helen Chadwick - Wreaths to Pleasure'
published by Ridinghouse 2014. More details here.

October 2014
MW has contrinuted an essay to 'David Parker: Myth and Landscape' published by Art Books Heidelberg (2014) ISBN 978-3-86828-589-5. More details can be found here.

Making a Record (Diamond, Ruby, Sapphire, Emerald) - Melissa Dubbin and Aaron S. Davidsonpublished by Marian Goodman Gallery, Septemb
MW's essay 'Ruby' can be read here.

Making a Record (Diamond, Ruby, Sapphire, Emerald) centers around a series of four interviews the artists Melissa Dubbin and Aaron S. Davidson conducted in 2009 with gemologist and jewelry designer Karen L. Davidson, talking about the stones used to record her voice. The artists made lithic tools from the four gemstones and etched a series of unique lathe-cut dub plates of each interview. Each of the four gemstone styli were given to Karen to use as elements in four pieces she designed. These handmade pieces are composed of the stylus, crystal slices or stones in their natural states, cut gems and 22k gold. Each of the four pieces can be worn as a pendant.
Actress Elina Löwensohn, artist Pierre Huyghe, curator Sofía Hernández Chong Cuy, geologist Violaine Sautter, hypnotist Victor Simon with curator Maxime Guitton, psychoanalyst Jamieson Webster, singer Stine Janvin Motland and writer Marina Warner were invited by the artists to listen to the records and to be exposed to, or exhibit these objects for various lengths of time.The information contained on the records was transmitted through casual conversations and occurrences that took place during their daily lives. A record of these instances has been contributed by each individual in the form of texts, compositions or conversations.

More information here.


5th December 2013
'At Camden Arts Centre' an essay review of Kara Walker's exhibition at Camden Arts Centre, London. Published in London Review of Books, Vol. 35 No. 23, 5 December 2013, page 41. The article can be read here.

MW has contributed 'Intimate Communiqués: Melchior Lorck's Flying Tortoise' an essay in Seeing from Above: The Aerial View in Visual Culture', Dorrian, Mark ; Frederic Pousin (eds) published by IB Tauris London, November 2013. More details on the publication can be found here.

Marina Warner has contributed an excerpt from From The Beast To The Blonde: On Fairy Tales and Their Tellers to 'Aquatopia: The Imaginary of the Ocean deep' a catalogue for the exhibition at Nottingham Contemporary 20 Jul 2013 - 22 Sep 2013. More details can be found here.

'The Symbol Gives Rise to Thought: Writings on Art by Marina Warner Volume 1', Edited by Vivian Sky Rehberg, Introduction by Marina Warner, published by Violette Editions ( 2013).
The first of two volumes.
More information here.

'Icons of Modern Life' by Marina Warner published in 'Man Ray Portraits' by Terence Pepper, and an illustrated chronology of the artist's life and career by Helen Trompeteler.
A fully-illustrated catalogue accompanies the exhibition at the National Portrait Gallery Feb-May 2013.
More details can be found here.

'The reality bodily before us: picturing the Arabian Nights', in Fictions of Art History,  ed. Mark Ledbury, intro Michael Hatt and Mark Ledbury, [Clark Studies in the Visual Arts series] (Yale University Press, 2013).

'Icons of Modern Life', Introduction to Man Ray Portraits by Terence Pepper, a fully-illustrated catalogue accompanying the exhibition at the National Portrait Gallery. (February 2013)


'My Hero: Paula Rego' by Marina Warner, published in The Guardian Saturday Review, 25 August 2012, page 5. The article can be read here.

'"I am a history / A Memory inventing itself...": The Embodiment of Time’ an essay on recent RCA Animation work for Royal College of Art Animation Showreel, RCA London, July 2012.

MW has contributed an essay for the book 'Fairy Tales, Monsters, and the Genetic Imagination' edited by Mark W. Scala, published by Vanderbilt University Press, 2012. More details can be found here.



MW contributed 'Visions of Alice: the little girl at the heart of Wonderland / The Dream Child' an essay review on Alice in Wonderland at Tate Liverpool in The Guardian Review, 29 October 2011, pp16-17. The article can be read here.

MW was interviewed for the documentary film about painter, poet and writer Leonora Carrington 'Open Up Stone Door' Directed by Dominique et Julien Ferrandou for Seven Doc Films, France. Available on DVD here.

MW has contributed her essay 'Intimate Communiqués: Melchior Lorck’s Flying Tortoise' to Seeing from Above: The Aerial View in Visual Culture edited by Mark Dorrian and Frédéric Pousin, published by I.B.Tauris & Co Ltd or Philip Wilson Publishers Ltd, London 2011. A full contents list can be read here.

MW has contributed the essay ‘Curiouser and Curiouser’ on the rarely seen drawings of Lewis Carroll featured in the Tate Liverpool’s exhibition ‘Alice in Wonderland’ (4 November - 29 January 2012) in Tate Etc magazine, issue 23, Autumn 2011, pp 68-73.

‘At the Hayward’ MW contributed an essay review on the ‘Tracey Emin: Love is What You Want’ exhibition at The Hayward Gallery London for The London Review of Books, Vol. 33 No. 16-25 August 2011, pp 28-29.

‘Unhealing Time’ Marina Warner essay lecture for Royal College of Art MA Animation 2011 programme. Pp-6-13.

‘Footage’, with Tacita Dean, Artist’s book, one of Tacita Dean ‘Seven Books Grey’ (Vienna: MUMOK, Steidl, 2011). Pp 9-34.



Chronicle of a Life Repaired: Bobby Baker, Wellcome Collection published by Profile Books (2010), essay by Marina Warner.

MW has contributed an essay on Bernini for the book ‘What Makes a Masterpiece? Encounters with Great Works of Art’ edited by Christopher Dell, published by Thames and Hudson (London and New York, 2010).

'Lament and Blessing in the Aftertime’ an essay for the catalogue for Anselm Kiefer’s show opening at Gagosian Gallery, New York on 6 November 2010.

‘The Language of Stones’, in catalogue of The Dark Monarch: Magic and Modernity’, Tate St Ives. 2010

‘Fruit Bomb’, about a talisman in the Pitt Rivers Museum Oxford appears in the catalogue of Magic Show, a South Bank touring exhibition curated by Sally O’Reilly and Jonathan Allen. Published 2010.

'Adynaia - Time’s Colour; Impossible Beauty’ an essay for The Colour of Time: Garry Fabian Miller by Adam Nicolson, Marina Warner, Nigel Warburton, published by Black Dog Publishing, London September 2010. The publishing coincides with two exhibitions of Garry Fabian Miller’s work at the V&A and Hacklebury Fine Art, London 2010.

‘A Howling Yearning’ an essay on recent RCA Animation work for ARC: The Journal of The Royal College of Art, London, ARC 14, Summer 2010, Pp 58-61.


Introduction to the Peter Randall-Page exhibition at the Yorkshire Sculpture Park, Wakefield, adapted in ‘Heart of Stone’, Guardian Review 4 July 2009, p. 18.

‘Rat and Bear: The Animal Fables of Fischli/Weiss’ in Peter Fischli and David Weiss, Are Animals People? Exhibition catalogue, Reina Sofia, Madrid, 2009.

‘Satyrs, Harpies, Jellyfish, and Mutants: Ovidian Metamorphosis in Contemporary Art’, in The Body and the Arts, ed. Corinne Saunders, Palgrave, 2009.

Extracts from Phantasmagoria in Susan MacWilliam: Remote Viewing, Black Dog Publishing, 2009, pp. 56-57.


‘Light Drawing In: The Art of Tacita Dean’, in Gehen/Walking, edited by Theodora Vischer and Katrin Grogel, Schaulager, Basel und Steidl Verlag, Göttingen, 2008, Pp 15-28.

‘The Writing of Stones: Roger Caillois’s Imaginary Logic’
, Cabinet magazine, Spring 2008.

‘The Word Unfleshed: Memory in Cyberspace’, trans. German in Sinn und Form, May-June 2008.
‘Phew! Whaam! Aaargh! Boo!: Sense, Sensation, and Picturing Sound’ in The Soundtrack, Vol 1, 2008.
‘Al and Al’, in Al and Al: Eternal Youth, exh. catalogue, FACT, Liverpool, April, 2008.



‘Hieronymus Bosch: The Hay Wain’, El Bosco y la tradicion pictorica de lo fantastico en el Museo del Prado, Madrid, forthcoming, 2006.

‘Invented Plots: The Enchanted Puppets and Fairy Doubles of Henry Fuseli’, in exhibition catalogue for Gothic Nightmares, Tate Britain, 2006.

‘Airy Spirits and Spitting Images: Adventures with Ectoplasm’, Vorträge aus dem Warburg-Haus, Vol. 9, Hamburg, 2006


‘Out of the Hell-Broth on to the Pillow: The Metamorphosis of a Frog’, in Kiss the Frog: The Art of Transformation exh cat. Nasjonalmuseet for Kunst, arkitektur og design, Oslo 28 May- 18 Sept 2005.

‘Passionate Cruces: The Art of Dorothy Cross’ in Dorothy Cross, exhibition catalogue, Irish Museum of Modern Art. Dublin, 2005 (Milan; Charta, 2005)

‘Insubstantial Pageants: spirit visions, soul traces’, in The Blur of the Otherworldly, ed. Mark Alice Durrant, exhibition catalogue, Baltimore, 2005.

‘Wolf-Girl, Soul-Bird: The Mortal Art of Kiki Smith’
, in Kiki Smith, exhibition catalogue for retrospective, Minneapolis – San Francisco, 2005- .


‘In the Mind’s Eye: Thought-Pictures and Ethereal Presences in the Photograph of Julia Margaret Cameron 1815-79, Archive (Bradford Museum of Photography, Film & Television), February 2004: 30-34.

‘Self-Portrait in a Rear-View Mirror’ in Only Make Believe: Ways of Playing, catalogue of exhibition at Compton Verney, 2004-5.

‘Psychic Time, or, The Metamorphoses of Narcissus’, in Chris Bucklow: This I that is Not I (catalogue, London: British Museum and Wordsworth Trust, 2004)

‘Medusae: Dorothy Cross/Tom Cross’, in Experiment: conversations in art and science. Eds. Bergit Arends and Davina Thackara (London:The Wellcome Trust, 2004).

‘Here comes the Bogeyman’: Juan Munoz and the Late Grotesque’, in Robert Lehman Lectures on Contemporary Art , No. 2: Dia Art Foundation, New York, eds. Lynne Cooke and Karen Kelly, with Bettina Funcke (New York, 2004).


'Metamorphing', written with Sarah Bakewell, published by New Scientist, 2003.

‘Ethereal Body: The Quest for Ectoplasm’, in Spiritus, catalogue of exhibition at Magasin3, Stockholm, 2003; reprinted Cabinet (New York), Fall/Winter 2003-4.

'"An artist’s dreamland”: Jane Eyre through Paula Rego’s eyes’, in Paula Rego: Jane Eyre (Enitharmon Press, London, 2003).

‘Anish Kapoor: The Perforate Self, or Nought Is Not Nought’
, Parkett, Spring, 2004.

‘Oracles & Treacle’, in catalogue of Joan Jonas: Works, Queens Museum of Art, Queens New York, December 2003.


‘Metamorfosis fantasticas: frutos prohibidos y otros mundos en “El Jardin de las delicias” de Hieronymus Bosch’, in Historias Inmortales (Barcelona: Galaxia Gutenberg, 2002).

‘”Ourself behind Ourself, Concealed”: Ethereal Whispers from the Dark Side’ in Tony Oursler: The Influence Machine, London: Artangel, New York: Public Art Fund, 2002.

‘Pavane for Her Wildwoman Symmetries: Francesco Clemente’s The Book of the Sea' catalogue essay, London and New York: Gagosian Gallery, 2002

Catalogue note to The Jerwood Drawing Prize 2002.


‘Gateways of the Primordial’, introduction to Sculpture at Goodwood 2001-2.


‘Nine Turns around the Spindle: The Turbine Towers of Louise Bourgeois’, Louise Bourgeois (London, 2000).

‘Ready or Not Here I Come!’
, in Janine Antoni (Zurich, 2000).

‘I will give you a monument’ a
debate on Trafalgar Square’s empty plinth from a talk given to Royal Society of Arts, published in The New Statesman, 21 February, 2000, p. 43-44.



‘Adventures in the way we see,’ review of Colour and Meaning: Art, Science and Symbolism, John Gage, in THES, December 17th 1999.

‘The Shadow of Young Girls in Flower’, introduction to Virginia Rodier, Clementina Lady Hawarden (New York, 1999).

‘Desire Paths’, in Granite Song : Sculpture Peter Randall-Page (Devon Books, 1999).

‘Family enfer’: review of Louise Bourgeois, recent works, Serpentine Gallery, and Louise Bourgeois ‘Deconstruction of tthe Father, reconstruction of the father,’ Writings and Interviews, eds. Marie-Laure Bernadac, Hans-Ulrich Obrist, TLS, 1999.


‘Angelic Visions’, RA Quarterly, Winter 1998.

‘A renaissance of repugnance,’ review of Master of death: the lifeless art of Pierre Remiet, Michael Camille; Medieval death: Ritual and representation, Paul Binski; King Death: the Black death and its aftermath in late-medieval England, Colin Platt, THES, July 5, 1998

‘Playacting, Chimaera and the late grotesque’ in Veronica’s revenge, ed.Elizabeth Janus (Zurich, 1998).

Preface to 20 Maresfield Gardens: A Guide to The Freud Museum (London, 1998).


‘Megan Jenkinson: Making Her Way Through the Palace of Memory’, in Under the Aegis : ‘The Virtues’ by Megan Jenkinson. Auckland, 1997.

‘Making Secret Visions Visible’, PN Review 1997

‘At the bottom of the garden’, Victorian Fairy Painting (Royal Academy of Arts), Victorian Fairy painting , Jane Martineau, ed. Merrell Hollberton/Royal Academy of Arts, in TLS, December 5, 1997.


Introduction and essay 'A Short Dictionary of the Invisible' for 'The Inner Eye: Art Beyond the Visible' Catalogue of exhibition, Manchester, Brighton, Swansea, Dulwich Picture Gallery (London, 1996-97).

Essay in Helen Chadwick Stilled Lives (Edinburgh, 1996).

Essay in David Nash: Forms into Time (London, 1996).

Catalogue of exhibition 'The Inner Eye: Art Beyond the Visible' shown in Manchester, Brighton, Swansea, Dulwich Picture Gallery London, l996-97.


‘Secret Ceremonies of Innocence: Zarina Bhimji’, in Zarina Bhimji (Cambridge, 1995).

‘The Rebel at the Heart of the Joker: Bobby Baker’, in Take a Peek (Royal Festival Hall, London, June l995), in Performance Art: Into the 90’s , A & D, October l995; reprinted in ‘Bobby Baker: The rebel at the heart of the Joker’ in A split second of Paradise, eds. Nicky Childs and Jeni Walwin (London, l996)

‘Waxworks and Wonderlands’
, in Lynne Cooke and Peter Wollen, Visual Display Culture Beyond Appearances, New York, l995; another version in Printer’s Devil, Fall, l995, translated as ‘Museo delle Cere e Paese delle Meraviglie; l’arte dell’imbalsamazione come simulazione della vita e sconfitta della morte,’ Prometeo, Anno 16, No. 62.

‘Soul Stealing, Shadow-Catching ’ 2 parts, Tate , Summer-Autumn, l995; another version:‘Lost Souls, Stolen Shadows’, Raritan, Fall, 1995.

‘Shearings’, in Ann Hamilton: Tropos (New York, 1995).

‘Le vil et le vigoureux, la toison et le poil: des cheveux et leur langage’ in masculinfeminin, le sexe de l’art, eds.Marie-Laure Bernadac et Jean-Claude Barnabé (Paris 1995); reprinted ‘Fur and fleece and the language of hair’ in Haare - Obsession und Kunst, Museum Bellerive, Zurich (7 March-21 May 2000).


‘The Searcher in the Woods’, in David Nash (Omaha, l994)


Richard Wentworth catalogue, Serpentine Gallery, London, 1993; version translated as ‘Le parti pris des choses’ in catalogue to Richard Wentworth exhibition,, Musée des Beaux-Arts de Calais (22 July-9 October 1994).

‘Penis Plenty Phallic Lack’, Parkett No 33 – 1993.

‘In the Charnel House of Love: Marlene Dumas’, Parkett No 38 - 1993.


Lucian Freud, New York Times Magazine, 1992.

Peter Randall Page, Catalogue Henry Moore Centre, Leeds, l992.


‘Leonora Carrington’s Spirit Bestiary; or, The Art of Playing Make-Believe’ , Catalogue, Leonora Carrington London, 1991.

‘Bush Natural’, Parkett No 27 - 1991




‘In the Garden of Delights: Helen Chadwick’s “Of Mutability”’ in Helen Chadwick (exhibition catalogue), London,1986, reprinted in Helen Chadwick, Enfleshings, London, 1989.

‘Personification and the Idealization of the Feminine’, in Medievalism in American Culture, ed. Bernard Rosenthal and Paul E. Szarmach. Binghamton, New York, 1989, 85-111.

Maggi Hambling Catalogue, Serpentine Gallery, London, 1989

Introduction to 'Paula Rego, Nursery Rhymes', 1989 reprinted in 1994.

‘Signs of the Fifth Element’, Catalogue The Tree of Life, South Bank Centre Touring Exhibition, l989.


‘Eve, the Serpent and Death (Hans Baldung Grien)’, FMR, 31 (March-April 1988).
Introduction to Frans Masereel, The City. London, 1988.




For 'Signs and Wonders : Essays on Literature and Culture' please see here

For a full Curriculum Vitae please see here






© Marina Warner 2011 - Contact