The Lasting Y (Street View), oil on canvas, 2020, 30” x 24”

The Lasting Y (Street View), oil on canvas, 2020, 30” x 24”



Art in Print Review by Julie Bernatz, 2016 [PDF]

The Brooklyn Rail Review by Eric Sutphin, 2015 [Link]

Essay by Glenn Ligon, 2015 [PDF]

Conversation with Robert Bordo, 2013 [PDF]

Essay by Claire Barliant, 2013 [PDF]

Lecture at Evergreen State College, January 23, 2013 [YouTube Video]

Paradox: Maleri, Panel, Nasjonalmuseet, Oslo, November 16, 2012 [YouTube Video]

Conversation with Siri Hustvedt, from ACNE Paper, Spring 2012 [PDF]

Form & Story Panel at Richmond Museum of Art, VA January 19, 2010 [YouTube Video]


Putting together two or more parts into an order is a narrative. Often when starting a painting I have a specific sequence in mind, a self-righteous one with clearly identifiable assignations to the parts. Presuming that the baseline purpose of all critical activity is to unmake and/or complexify a preexisting order, mine is to both answer the urge to express my particular narrative, and to hope for its undoing.

My work is as much a monitoring of my uses and abuses of really primitive psychoanalytic models as it is an articulation of them. I know letting obsolete thought regimes go is the price I pay for cognitive realignment. In periods I have painted towards the comfort and confirmation of what I already know – this always fails – and in stronger times towards upending it. Which imperatives are open for analytic adjustment and which ones are temperamental are not always clear to me.

My work is a narrative retrofitted to the resistance, tempo and mess of paint. Distinctions blur, categories bleed and pollute each other and uncover multiple complicities in their painted incarnations. The material evidence of this process is the doubleness I experience when in front of a painting: the phenomenological excess. This never-perfect-fit between image and its container is both my reward and irritant.
Like everyone else, I struggle with painting’s relevance; I place the point of my continued use of it on its limitations.

Painting’s analogy to skin isn’t new: the painted surface is a hide where battle-scars remain as a record of its experiences. The privacy of painting makes the analogy even easier: I stroke, lick, brush, bathe, in its unmaking I sand and cut. I am drawn to the dumb puns and double entendres of the body, the creases that stand in for other creases, apertures that open in place of other apertures, infantile behaviors that return as adult ones, etc.: thought games that make the intolerable tolerable. In paint I am looking at a viscous flourish that reminds me of something else, but is potent enough to keep me from naming that other thing –.

If consciousness knows itself through (painted) language, it is by mining painting for its systemic/grammatical failures that I can hope to find unexpected outcomes to my narrative. I want to pry the subject away from its infatuation with fluency.


If Balzac’s “The Unknown Masterpiece” is…., then……

The story in short: the old painter Frenhofer is trying to make one last and lasting masterpiece, but his model has run away. He is lent another lovely young woman, his acolyte Poussin’s girlfriend, and they isolate themselves for months before he finally invites his friends to see the result.  What they see is a canvas covered by a thick network of marks obscuring everything, save for an ankle in one corner. His shock at their shock makes him see what they see, and he burns his paintings and dies that night.

If this is an allegory of Modernism, then the “wall of paint” that confronts the friends when they come to see the painting can be a form of chosen incoherence, even when the artist claims to want articulation and spatial illusion. Despite having the pimped girlfriend modelling, Frenhofer can’t seem to penetrate the wall of paint. The painting becomes instead a repository of his failed attempts, his persistent yearning, and is subjectively intimate, rather than spatially and conceptually in control.  This reading of Balzac’s story – linking the master’s impotence to Modernism – is not the generally accepted one, but works for me.

During his MoMA retrospective, there was a series of Richter’s paintings made after a photograph of his young wife and infant, looking for all intents like a Madonna and child. Different in temperature from his other paintings, they were just as squeegeed and scraped, but seemed impatient, as if registering not the usual nonchalance, but inadequacy in the face of sentiment. Scraping towards a “wall of paint” seemed to restore some intimacy from his first encounter with the photo, and registered the difference between the usual Richterish polemical unmaking, and what this one was asked to contain.

While admiring these paintings, I slowly got good and pissed thinking about how he, in his third marriage, could process the experience of parenthood so fluently through historical painting metaphors, and how for me, who had just had a child, this seemed no longer possible.

Was this good or bad? If one function of metaphor is to make something intolerable tolerable, does it have legitimate work to do beyond its first few appearances? Once something is a known decoy – i.e. historical trope – won’t the corrupting compromises just be piling on for each successive use?

Thinking how almost everything can serve metaphorically for balls (Twin Towers, head of Holofernes) while they themselves can’t serve for anything else, testicles seemed the closest equivalent to my motherhood.  I figured this is where metaphor would go to die; I set up several model sessions and made a number of closely studied paintings from them. The embryonic ambivalence of gender expression has left a scar on the scrotum, a tiny souvernir of categorical instability, and along with the privilege of staring at length at this, it also felt odd to scrape and squeegee. The simultaneity or doubleness of image and the matter it was made of became insupportable, and in the end collapsed the distance that uncomplicated representation guaranteed me.

I couldn’t argue with a way-too-close wall of not-yet/already-gone articulation. The painted/scraped surface became a body up against mine.

Trophy hunt /Fur and Sheikh

I find fur a good place to start for sensory overload and incoherence (tip a cup to Meret Oppenheim). I chase representation of hair with hair, with paintbrush and fur in an endgame of literal equivalents.

Camouflage is animal rhetoric.

A stretched pelt holds its memory of a once dimensional presence, minus its consciousness; my consciousness gets restored while painting its likeness.

The published image of Khalid Sheikh Mohammed upon his capture in 2003 went viral as visual shorthand for the enemy as all that was abject, hairy and debased. In the rhetoric of the War on Terror, the image was universal. I congratulated myself on being fluent in it, and had a conflicting animal urge at the same time- somebody ought to lick his fur down.                                                                                                                                                                                                              The brush is a tongue.

In 2009 some photographers from Red Cross were allowed access to Guantanamo to make a series of portraits of the detainees. These images were made in collaboration with their subjects, who were shown smiling in civilian clothing or traditional dress. The prints, sent to their families as alternatives to the mugshots, and serving as proof that their relatives were alive and not mistreated, were not intended for public release.

Khalid Sheikh Mohammed chose flowing white robes and headdress. Slimmed down since 2003, he has a benevolent smile, a long beard and an opened Koran in his lap.

These photos began appearing last year on internet sites that have previously been used by Al-Qaeda and sympathizers to communicate with each other, said Jarret Brachman, the former research director at the Combating Terrorism Center of the U.S. military Academy at West Point. Brachman, now an independent terrorism researcher based in Fargo, North Dacota, said he fears the photos could breed sympathy for a man who has proudly proclaimed his role in the Sept. 11 attacks, as well as other incidents of terrorism, while also alleging he has been tortured by the U.S.

“What is problematic for me is it really humanizes the guy” Brachman is quoted as saying, identifying the unmonitored release of the images as a tactical and rhetorical error by the U.S. (BBC News)

My brand of doubt is a distrust of fluency. Systems of exchange depends on it and mastery of language is the first evidence of subjecthood. But its efficiency is measured by all that has been held in its container prior to my use of it, and the urge to modify my content to fit the format is powerful. When does the call to adjustment become inaudible and the seamless attractions of fluency take over? My desire to communicate is held in check by equally strong imperatives to block certain content from being passed on.

In these paintings I accept the inadequacy of any system of representation to presume truth, and dig for below-human-register frequencies and overlaps in the unequal but complementary rhetoric of the two portraits of  Khalid Sheikh Mohammed.


Hanneline Røgeberg is a painter who works with the paradoxes of representation and language. She has shown in solo shows at the Contemporary Art Center in Cincinnati, the Vancouver Art Gallery, the Henie-Onstad Kunst Center, Dortmund Bodega, Oslo, and at Blackston Gallery and Thomas Erben Gallery in New York, as well as groups shows at the MIT List Center, the Whitney Museum of American Art, the Aldrich Museum of Contemporary Art, the American Academy of Arts and Letters, and a four person show at the Richmond Museum, VA. Among other awards, she has received grants from the NEA, a Guggenheim fellowship, an Anonymous Was A Woman grant and an OCA grant for a publication. She is a tenured professor of art at Rutgers University and has previously taught at the University of Washington, Cooper Union, and Yale University and was a visiting artist at Skowhegan in 2009.

Hanneline Røgeberg lives and works in Brooklyn, NY and Oslo, Norway.


EMAIL: info@hannelinerogeberg.com


2021 To the Ground, Galleri Riis, Oslo, Norway
2019 Zerosandones, Galleri Riis, Oslo, Norway
2017 Hard Sauce, Thomas Erben Gallery, New York, NY
2016 Hanneline Røgeberg, 10 Grand Press, Artist Editions & Book Fair, New York, NY
2015 Off the Bone, Blackston, New York, NY
2014 Hanneline Røgeberg, NADA Art Fair, New York, NY
2013 Never Odd Or Even, Blackston Gallery, New York, NY
2011 Fur & Sheikh, Dortmund Bodega, Oslo, Norway
2009 Form and Story, Museum of Richmond, VA
2005 Patte, Tracey Lawrence Gallery, Vancouver, B.C.
2004 Hanneline Røgeberg, University Museum Wright University, Dayton, OH
2001 Anagram, Tracey Lawrence Gallery, Vancouver, B.C.
1999 Hanneline Røgeberg: Malerier 1994-1999, Henie-Onstad Kunst Senter, Oslo, Norway
Small Works, Wittman Lawrence Gallery, Vancouver, B.C.
1997 Corpora, LaBand Art Gallery, Loyola Marymount University, Los Angeles, CA
1995 Horizons, Contemporary Art Center, Cincinnati, OH
1994 Hanneline Røgeberg, Diane Farris Gallery, Vancouver, B.C.
1992 Hanneline Røgeberg, Southern Connecticut State University, New Haven, CT
1990 Hanneline Røgeberg, Parker Zanic Gallery, Los Angeles, CA


2020 Norda, Collezione Erling Kagge, Museion, Bolzano, Italy
2020 Monoprints 2020, Washington Art Association, Washington Depot, CT
2017 Put me in the Zoo, Lucien Terras Project, New York, NY
Painting in Due Time, Thomas Erben Gallery, New York, NY
2016 Baltimore Contemporary Print Fair, 10 Grand Press, Baltimore, MD
In Color, 33 Montezuma Arts, Sante Fe, NM
Inaugural Show, Galleri Riis, Oslo, Norway
Vermont Studio Benefit, curated by Glenn Goldberg, White Box, New York, NY
2015 Draw: Mapping Madness, curated by Tomas Vu and Rirkrit Tiravanija, Inside-Out Art Museum, Beijing, ChinaSkin, part 1, National Exemplar, New York, NY
Living Threads, New York Studio School Gallery, New York, NY
Plus1, curated by Wes Sherman, The Center for Contemporary Art, Bedminster, NJ/td>
“_____”, curated by Patricia Brace, No Holds Barred, New York, NY
2014 “Warm Math”, organized by Alexander May, Balice Hertling, New York, NY
“Legs”, National Exemplar, New York, NY
2013 The Rug Pulled Out From Under, Hedreen Gallery, Seattle, WA
2012 Dirt Tongue, CCA Kunsthalle Andratx, Mallorca, Spain
2011 Flesh Art, curated by Jose Rodeiro, Jersey City Museum, Jersey City, NJ
Norwegian Artists in New York Now, GalleryNO, New York, NY
Norway in New York Now, curated by Omar Lopez-Chaoud, Galleri NO, New York, NY
2010 Portraiture for the Silicone Enlightenment (Fuckheads), curated by Angela Dufresne, SCA Contemporary Art, Albuquerque, NM
A Reluctant Apparition, Sue Scott Gallery, NYC, NY
MAN DIES, Arch Collective, Brooklyn, NY
2009 Slough, David Nolan Gallery, curated by Steve DiBenedetto, NYC, NY
2008 Every Body Counts, Vestfossen Kunstmuseum, Norway
Never Did She Ever…, curated by LaToya Ruby Frazier, Mason Gross Gallery, Rutgers University, New Brunswick, NJ
2007 Norske Bilder, Galleri Brandstrup, Oslo, Norway
30th Anniversary Exhibition, Jan Baum Gallery, Los Angeles, CA
Drawings, curated by Lisa Sigal, Frederieke Taylor Gallery, New York, NY
2006 Bearings, curated by Allen Frame, PS. 122, New York, NY
Urban Visionaries, Cooper Union Gallery, New York, NY
2005 The Subjective Figure, Robert Miller Gallery, New York, NY
Desire, Kent Gallery, New York, NY
2004 Portraits, Esso Gallery, New York, NY
2003 Toronto Art Fair, Toronto, Canada
Faculty Show, Cooper Union Gallery, Cooper Union, New York, NY
2002 Perceiving Life, Frye Art Museum, Seattle, WA
Lysis, Pamela Auchincloss Project Room, New York, NY
2001 Alumni Choice Exhibition, Yale Art Gallery, New Haven, CT
ClenchClutchFlinch, Paul Rodgers Gallery/9W, New York, NY
2000 Imaging the Wunderboard, London Biennale 2000, Center for Freudian Analysis and Research, London, UK
Private World, Art in General, New York, NY
The Figure: Another Side of Modernism, Newhouse Center for Contemporary Art, Snug Harbor Cultural Center, Staten Island, NY
1999 Go Figure, Neiman Gallery, Columbia University, New York, NY
Sketch, Kellogg University Art Gallery, Cal State Polytechnic University, Pomona, CA
Nude in Contemporary Art, The Aldrich Museum of Contemporary Art, Ridgefield, CT
Zero G: When Gravity Becomes Form, Whitney Museum of American Art, Stamford, CT
1998 Commitment to Image, The Museum of the University of North Texas, Denton, TX
1997 Naked Truth: The Figure in Contemporary Art, Art Gallery of Greater Victoria at Simon Frazer University, Victoria, B.C
Remembrance of Exhibitions past, Jan Baum Gallery, Los Angeles, CA
Body Language:Current Figurative Painters, Art Institute of Southern California, Laguna Beach, CA
1996 Naked, University of Hawaii Art Gallery, Honolulu, HI
Works on Paper, Tacoma Art Museum, Tacoma, WA
1995 47th Annual Purchase Exhibition, American Arts and Letters, New York, NY
The Reconstructed Figure, Katonah Art Museum, Katonah, NY
Vital Signs, Municipal Art Gallery, Los Angeles, CA
At Century’s End: The Figure in Norwegian Painting, National Museum for Women in the Arts, Washington,D.C.; Henie-Onstad Kunst Center, Norway
1994 Sacred and Profane, Jan Baum Gallery, Los Angeles, CA
Gallery Artists, Diane Farris, Vancouver, B.C.
1993 The Anxious Salon, MIT List Visual Arts Center, Cambridge, MA
Reciprocities: Artists Choose Artists, Institute for Contemporary Art, Portland, ME
1992 American Prints, traveling to gallery OH, gallery M, Aichi, Japan
These Painters Shaped the Last Decade, Galleri Galtung, Oslo, Norway
Gallery Artists, Jan Baum Gallery, Los Angeles, CA
1991 Synthetic History, Parker Zanic Gallery, Los Angeles, CA
1990 Introductions, Parker Zanic Gallery, Los Angeles, CA


1990 MFA Painting and Printmaking, Yale University, New Haven, CT
1988 Skowhegan School of Painting and Sculpture, Skowhegan, ME
1987 BFA Painting, San Francisco Art Institute, San Francisco, CA
* Yale at Norfolk Summer School for Painting and Music, Norfolk, CT


2019 Residency Fellowship PRAKSIS 13 “Out Looking Inwards” Oslo, Norway
2012 Fondazion Andratx Residency, Andratx, Mallorca, Spain
2009 OCA Grant for Exhibition Publication for “Form &Story”
2003 Anonymous Was A Woman Grant
2002 Scholarly Excellence Award, Rutgers University
2000 Fondacion Valparaiso Residency, Spain
1999 John Simon Guggenheim Memorial Foundation Fellowship, Painting
1996 WESTAF/NEA Fellowship, Painting
1994 Royalty Research Grant, University of Washington
1990 Ingram-Merrill Fellowship
Blair Dickinson Memorial Grant


Professor, Painting, Mason Gross School of the Arts, Rutgers University, New Brunswick, NJ
Associate Professor, Painting, Mason Gross School of the Arts, Rutgers University, New Brunswick, NJ
Director of Graduate Studies, Mason Gross School of the Arts
2003 Fall semester, Visiting Artist, Cooper Union, New York, NY
2001 Spring semester, Visiting Artist, Cooper Union, New York, NY
1996-02 Assistant Professor, Painting, Mason Gross School of the Arts, Rutgers University, New Brunswick, NJ
1993-96 Assistant Professor, Painting, University of Washington, Seattle, WA
1991-93 Lecturer in Painting, School of Art, Yale University, New Haven, CT
1993 Spring semester, Critic, School of Architecture, Yale University, Haven, CT


2019 Graduate Critic, Yale School of Art, New Haven, CT
2017 Visiting Artist, Columbia University School of Art, New York, NY, Nov 1
Visiting Artist and Critic, Vermont Studio Center, Johnson, VT, Aug 25-30
Visiting Artist and Critic, Hunter University, New York, NY, Apr 5
2016 Visiting Artist and Critic, Pennsylvania Academy of Fine Art, Philadelphia, PA, Feb 11
Visiting Artist, Zimmerli Museum of Fine Art, New Brunswick, NJ, Apr 5
2015 Visiting Artist lecture, Mason Gross School of the Arts, Rutgers, New Brunswick, NJ, Jan 28
Visiting Artist and critic, University of the Arts, Philadelphia, PA, Apr 7
2014 Visiting Artist and critic, Vermont Studio Program, Johnson, VT, Feb 21-26
Visiting Artist lecture and critic, SUNY Purchase, NY, Jan 21
2013 Visiting Artist and critic, Evergreen State College, Olympia, WA, Jan 23
Visiting Artist and Graduate Critic, University of Washington, Seattle, WA, Jan 25
Distinguished Visiting Artist and Critic, Maine College of Art, Portland, ME Apr 4
Graduate Mentor, Vermont College of Art, Montpelier, fall semester
2012 Visiting Artist, Royal Danish Art Academy, Copenhagen, DK, Nov 11-14
Visiting Artist and Graduate Critic, MICA, Baltimore, MD, Sept 25
Visiting Artist, Vermont Studio School, Johnson, VT, May 21-27
Visiting Artist and Critic, University of Louisville, KY, Mar 21-22
2011 Studio Lecture to Sarah Lawrence BAs, Brooklyn, NY, Feb 12
Gallery Talk, Dortmund Bodega, Oslo, Norway, Mar 13
Visiting Artist and Critic, Brandeis University, Boston, Apr 18, 19
2010 The Expert’s Mind, DeYoung Museum, San Francisco, July 8-10
Visiting Artist lecture and critic,  New York  Art Academy, Apr 22
Visiting Artist Lecture, SUNY New Paltz, NY Dec 1
Visiting Artist and  Graduate Critic, SUNY Buffalo, Buffalo, NY, Dec 6
Visiting Artist and Critic, Kungliga Kunsthøgskolan, Stockholm, Sweden, Dec13,14
2009 Panel Discussion for “Form and Story”, Richmond Museum, Richmond, VA, Jan 20
Visiting Artist Lecture and MFA Critic, RISD, RI, Apr 20, 21
Visiting Artist and Critic, Skowhegan School of Art, Skowhegan, ME, Summer
Distinguished Lecturer, Mercer County College, NJ, Oct 13
2006 Visiting Artist lecture and critic, Colby College, ME, April 11
Visiting Artist lecture, Mason Gross School of the Arts, New Brunswick, NJ, Jan 25
Visiting critic, Art OMI residency, Ghent, NY, July 18, 19
2005 Visiting Artist lecture and critic, University of the Arts, Philadelphia, PA, Nov 30
Visiting Artist lecture and graduate critic, Massachusetts College of Art, Boston, MA, April 11
Visiting artist lecture and critic, Williams College, Williamstown, MA, May 5
2004 Visiting artist lecture and graduate critic, University of Pennsylvania, Philadelphia, PA, February 16
Visiting artist lecture, Wright State University, Dayton, OH, November 7
2003 Visiting artist lecture and critic, MacAlester College, Minneapolis, MN, May 7
Visiting artist lecture and graduate critic, University of Pennsylvania, Philadelphia, PA, March 10
2002 Visiting artist lecture and graduate critic, Montclair State University, Montclair, NJ, February 6, March 6, April 17
Visiting artist lecture and critic, Maine College of Art, Portland, ME, February 22
2001 Lecture, New York Studio School, New York, NY May 1
Visiting artist lecture and graduate critic, American University, Washington, D.C., October 23, November 13, December 4
Visiting artist lecture and graduate critic, Massachusetts College of Art, Boston, MA, October 10
Lecture, Contemporary Art Gallery, Vancouver, B.C. Canada, October 20
Week long workshop “The Figure as Subject”, Fine Arts Work Center, Provincetown, MA, August 15-22
2000 Panel and lecture, CAA conference, chair by Joan Semmel, New York, NY, February 20
Panel and lecture, “Writing the Body”, Green College, University of British Columbia, B.C. April 5
Visiting artist lecture and critic, Emily Carr College of Art and Design, Vancouver, B.C., April 6
Week long Workshop “The Figure as Subject”, Fine Arts Work Center, Provincetown, MA August 16-23
Visiting artist lecture and critic, California State University, Long Beach, CA, September 13
Visiting artist lecture, New York Academy, New York, NY, October 12, 1999 Week long workshop “The Figure as Subject”, Fine Arts Work Center, Provincetown, MA August 11- 18
Lecture, Henie-Onstad Kunst Center, Oslo, Norway, October 17
Visiting artist, invited to do a series of etchings in the Neiman print shop, Columbia University, New York, NY , November 1-7
1998 Visiting artist lecture and critic, Cooper Union, New York, NY, November 2, 9, 16
Visiting artist lecture and critic, University of North Texas, TX, October 5
Week long workshop “The Figure as Subject”, Fine Arts Work Center, Provincetown, MA August 16-23
Visiting artist lecture and critic, University of Indiana, Bloomington, IN, March 6,7,8
Visiting artist lecture and graduate critic, Pennsylvania Academy, Philadelphia, PA. April 9
1997 Visiting artist lecture and graduate critic, University of Pennsylvania, Philadelphia, PA November 17
Visiting artist lecture and graduate critic, Massachusetts College of Art, Boston, MA, October 21
Visiting artist and critic, Maine College of Art, Portland, ME, October 20
Visiting artist lecture, invited to do a lithograph in print shop, School of Art, Yale University, New Haven, CT February 28
1996 Visiting artist lecture and graduate critic, University of Hawaii, Honolulu, HI, March 2
1995 Visiting artist lecture, Cornish college of Art, Seattle, WA, April 3
1994 Visiting artist lecture and critic, Emily Carr College of Art and Design, Vancouver, B.C. December 8
Visiting Artist lecture, Fine Arts Work Center, Provincetown, MA November 25
1993 Visiting artist lecture and graduate critic, San Francisco Art Institute, CA, December 7
Visiting artist lecture and graduate critic, University of Pennsylvania, Philadelphia, October 18
Visiting artist lecture and graduate critic, Cornell University, Ithaca, NY, March 5
Visiting artist lecture and graduate critic, Carnegie-Mellon University, Pittsburgh, PA, March 9
1992 Visiting artist lecture and critic, Maine College of Art, Portland, ME April 15-17
Visiting artist lecture and workshop, Yale at Norfolk, Norfolk, CT September 19
Visiting artist lecture, New Haven Public Library, CT March 26
1991 Visiting artist lecture, Nova Scotia College of Art and Design, Halifax, NS, Canada, March 8
1990 Visiting artist lecture, University of Iowa, Iowa City, IA April 24
1989 Introductory lecture given at first “Day Without Art:World AIDS Day” School of Art, Yale University, New Haven, CT December 1


2012 Panel discussion in conjunction with exhibit “Form & Story”, moderated by Liz Schlatter, Museum of Richmond, VA, Jan 19
Lecture and panel discussion “Painting/Paradox” moderated by Gavin Jantjes, Nasjonalmuseet, Oslo, Norway Nov 17
Co-curating “Dirt Tongue” with Suzanne McClelland, Kunsthalle CCA Andratx, Mallorca, Spain July/Aug 2009
2001 Panel discussion in conjuction with exhibit ClenchClutchFlinch, moderated by Dominique Nahas, Paul Rodgers Gallery/9W, New York, NY June 26
Appearance/feature in “EGG”, Channel 13’s Television Arts Magazine, screened November 2
2000 CAA Conference panel: “The Body in Art” chaired by Joan Semmel, New York, February 20
1998 Curating “Carol Schlosberg 1957-1998” and writing text for catalog, Yale Art Gallery, New Haven, CT, June 15 to August 15
1996 Radio interview with Shelley Bancroft on “Art in your Ear”, UW Station, July 20
1994 Discussion and tour with Jeffry Mitchell, Seattle Museum, WA October 22
1993 Panel discussion:”Narrative Content in Recent Figurative Art”, MIT List Visual Arts Center, Cambridge. MA October 16
1992 Initiated and organized silent auction of Yale School of Art faculty work; all proceeds to the Needle Exchange Program, AIDS Outreach and ACT-UP, December 1
Jury for “How We See”, Women’s Center, Yale University, New Haven, CT November 1


2020 ArTribune: “Collezione Kagge di Bolzano” (Oct 14)
Financial Times: “It is not rational” (Sept 17)
2011 Morgenbladet, Norway: “Olsson Anbefaler” by Tommy Olsson, p37 (March 11-17)
2009 URGE, Richmond, VA: “Form & Story”, by Petie Bogen-Garrett (March 1)
2004 Dayton Daily News, Dayton, OH, ”Three Voices” unites painters at Wright State” by Ron Rollins, p. F1, F6 (November 7)
2001 Artnet Magazine, “Drawing Notebook: review by N.F. Karlins (July 10)
2000 Vancouver Sun, B.C. “A Divine Spark” by Michael Scott, p. B11 (April 10)
1999 New Yorker, “Goings on About Town: The Aldrich Museum’s The Nude in Contemporary Art”, staff, p. 16 (September 2)
The Georgia Straight, Vancouver B.C. “Intimate Explorations Gets Under Viewer’s Skin” by Paula Gustavson, (April 22)
Artichoke, Canada “Small Paintings” by Paula Gustavson, p. 40 (fall/winter issue)
Aftenposten, Norway “Amerikans Prestisjepris til Rogeberg”, staff, p.26 (April 17)
Vancouver Sun, B.C. “Hanneline Rogebrg: by Michael Scott, p. C16 (April 15)
The New York Times: “In Connecticut, the Scars of war, the Works of Peace” by Roberta Smith, p. E36 (July 30)
Dagsavisen, Norway: “Maler I New York” by Nina Johnsrud, p.22 (Oct. 15)
VG, Norway: “Svartmaler” by Alf Bjarne Johnsen, p. 37 (May 10)
Prisma, Norway: “Den Nakne Sannhet” p.9 (fall issue)
Aftenposten, Norway: “Forstyrrende Hud” by Lotte Sandberg, p.22 (Nov.1)
Dagsvisen, Norway: “Kvinnekroppen som Subject” by Anne Schaffer, p. 16 (Oct.24)
Aftenposten, Norway: “Kultur”, p.12 (Oct.16)
Dagens Naeringsliv, Norway: “Figurativ Feminisme” by Jan Kokkin, p.29 (Oct.16)
* VG, Norway: “Kunstner mot Strommen” by Jens Henrik Stromland, p. 41 (Oct.17)
Dagbladet, Norway: “Slaande Kroppssprak” by Harald Flohr, p. 4 (Nov 11) 1997 Fort Worth Star Telegram: “It Figures”, staff p. 6 (Sept.6)
The Dallas Morning News: “Two Artists with Something to Say, Figuratively” by Charles D. Mitchell, p. 22 (Sept.11)
1997 Los Angeles Times: “Body Language meets the Naked Truth” by Cathy Curtis, p. 24 (Aug. 26)
Los Angeles Times: “Powerful, Intriguing Works: Corpora in Extremis” by William Wilson, p. 22 (April1)
1996 The Washington Post: “Interesting Changes in Art” by Jo Ann Lewis, p.43 (Jan.7)
1995 Artichoke, Canada: “Hanneline Rogeberg:Under the Skin” by Paula Gustavson front cover, p. 15, 16, 17,(fall/winter issue)
Provocateur: “Hanneline Rogeberg” by Ryan Bookhart, p. 48, 49, 50, 51 (premier issue)
The Washington Times: “Imaginative Impressions of Norway” by Eleanor Kennelly p. C10 (Nov 19)
The New York Times: “Multiculturalism is Stressed in “The Reconstructed Figure” by Vivien Raynor, p. 16 (July9)
The New York Times: Hudson Valley Crop” by Michael Kimmelman, p. C16 (Jul16)
The Cincinnati Post:”Contemporary Art Center show mystifies, fascinates” by Jerry Stein, p. F1 (June 20)
The Cincinnati Enquirer: “Artists focus on distressing trend: by Owen Findsen p. F6 ( June 18)
1994 The Georgia Straight, B.C.:”Hefty Nudes Evoke Sheer Sensation: by Paula Gustavson, p. 50 (Oct 14)
The Vancouver Sun, B.C.: “The Art that Breeds Discomfort” by Max Wyman p. D3 (Oct.8)
The New Pacific, Canada: “Forms of Expression” by Carol Berger, p. 26, 27, 28, 29 (summer issue)
1993 Dagbladet, Norway: “Norsk kvinnekunst til USA” by Inger Bentzrud, p.14 (May 2) Maine Sunday Telegram: “Thoughts on the World, Thoughts about Each Other” By Ken Greenleaf, p. 8E (Nov. 11)
The Boston Herald: “Exhibit of Narrative Art Shows Underbelly of Life” By Mary Sherman, p. 34, (Nov.5)
The Boston Globe: “The Naked and the Dread” by Christine Temin, p.61, 65 (Oct.19)


2012 Transcribed lecture in English and Norwegian “Painting/Paradox”, Nasjonalmuseet, Oslo, Norway
Essay for Jeffry Mitchell monograph “Like a Valentine”, Henry Art Museum, Seattle, WA
Essay in La Norda, in conjunction with “The Rug Pulled Out”, Seattle, WA
2010 Cover art for “Mr. Worthingtons’s Beautiful Experiments on Splashes” by Genine Lentine, New Michigan Press
2009 Form and Story, catalog with transcription of panel discussion, University of Richmond Museum
Figuratively Seeing, Massachusetts College of Art and Design
2008 Every Body Counts, Vestfossen Kunstlaboratorium, Norway
2006 Ninth Letter, Vol.3, No.1, University of Illinois at Urbana-Champaign
2004 Building Tradition: The Northwest Art Collection, Tacoma Art Museum
2001 Clench/Clutch/Flinch, text by Dominique Nahas, Paul Rodgers Gallery
Gesundheit, text by Michael Madore, online journal “Artbrain”
Perceiving Life, exhibition catalog, Frye Art Museum
2000 Kunstaarboken, Universitetsforlaget, Norway
The Figure: The Other Side of Modernism, exhibition catalog, Newhouse Center for Contemporary Art, Snug Harbor Cultural Center
1999 Hanneline Rogeberg, exhibition catalog, Henie-Onstad Kunst Center, Norway
Fire kvinner Fire Sprak, Henie-Onstad Kunst Centre, Norway
Zero G: When Gravity Becomes Form, exhibition catalog, Whitney Museum of American Art
The Nude in Contemporary Art, exhibition catalog, Aldrich Museum of Contemporary Art
1998 Corpora in Extremis, exhibition brochure, Loyola Marymount University, LA
Parallaxis, text by Lucy Lippard, Rina Swentzell, published by WESTAF
Body language, exhibition brochure, Art Institute of Southern California
1996 Naked Truths, texts by John Yau, Allan de Souza, David Medalla, exhibition catalog, University Museum of Hawaii
At Century’s End, exhibition catalog, Henie-Onstad Kunst Centre, Norway
1995 The Reconstructed Figure, exhibition catalog, Katonah Art Museum
HORIZON: Alternatives, exhibition brochure, text by Elaine King, Contemporary Art Center, Cincinnati
Vital Signs, exhibition catalog, Municipal Art Gallery, LA
1994 Hanneline Rogeberg, exhibition catalog, text by Ann Wilson Lloyd, Diane Farris Gallery
1993 The Anxious Salon, texts by Helaine Posner, Ron Platt, MIT List Visual Arts Center