Ceysson & Bénétière

The Manly Art of Toni Grand

An exceptional sculptor of the latter half of the 20th century, Toni Grand (1936-2005) used mainly elements of wood, stone, bone and fish of the congridae family to produce image-forms whose easily recognizable features are not the attributes of a signature style, but of authentic imagination.

Since Toni Grand decided to immolate his oeuvre, the pieces that escaped the conflagration are conserved for the most part in private collections or renown museums that have yet to produce the retrospective his deeply pondered work deserves.

Grand's production has been considered a response to American Minimalism and Process Art. If his ingenuousness rivals Carl Andre's artlessness, his steel sculptures weigh in with Richard Serra, and his experiments with anti-form compare with Robert Morris, Grand manages sin machismo. For the 1967 Paris Biennial, Grand presented a series of composite works: rectangular cuboids made of steel containing polyester resin moulded into organic forms. These parallelepipeds could be presented on any of their 6 faces-- and Grand returned to the exhibition every day to turn each piece over. By definitively rejecting the pedestal, he too accomplished what Richard Serra called "the biggest move of the century."

Grand spent the 1960s and 70s disputing the customary function of sculpture as mimetic, symbolic or allegorical representation, and rejecting its tradition of noble materials such as marble or bronze. His lignes courbes made with a bandsaw give an impression of drawing in space similar to Rosemarie Castoro's Cracking pieces. During that period, he also made numerous wood pieces with titles of almost artless forthrightness such as Vert, équarri, équarri plus une refente partielle, équarri plus deux refentes partielles (Green, squared with a partial split, squared with two partial splits.) Such verbal mannerism emphasizes the process and formalist esthetic of the work even as it protests minimalism's renunciation of handcraft.
As he evolved to challenge the limitations of the modernist paradigm Grand found, like Nancy Graves, Eva Hesse and Linda Benglis, resin to be a most appropriate medium to explore the intersection between the evocative metaphors inherent in organic forms and the reductive esthetic of minimalism. There is much to mine in the comparisons between Graves' camels and Grand's Cheval Majeur, Eva Hesse's grid-structured works of and Grand's polyester-fish cubes of the 1990s, or Linda Benglis' For Carl Andre and Grand's enormous wood and resin Sans titre of 1983.

One of Grand's largest works, Du simple au double (1993), consists of 17 polyester resin cylinders. A predetermined length governs the height and circumference of each cylinder. This structural simplicity based on a programmatic principle is brazenly undermined by the informal unit of measure: the conger eel coated with resin and incorporated into every element of the artwork. Here Grand takes his place in a conceptual tradition by using word play to investigate the functioning of metaphor in visual art. His conger eel, "congre" in French, is indeed a most incongruous material, which he binds into ponderous primary structures with a sense of humor some might call Duchampian. As a highly cultivated Frenchman, he may have remembered Baudelaire's Artificial Paradise where the most trivial ideas take on a new and bizarre physionomy full of " endless word games, unforeseeable incongruous resemblances and analogies."


Interview with Bernard Ceysson and Toni Grand

- Did you have a vocation as sculptor early on?
- No! I studied literature at Montpellier, and then one year at a fine arts school, again in Montpellier. But it was not before I was twenty that I chose to devote myself to sculpture. I started sculpting at around seventeen or eighteen, but it was just tinkering; nothing important. In fact I learned to sculpt by myself. I started by working iron. [...]
- You showed me the works that you exhibited at the 1967 Biennale. In retrospect, we realise their importance, their originality even though according with the mood in the Paris art scene of the time.
- [...] What mattered then in sculpture was the pedestal, with works that presented themselves as parallelepipeds defined by a metal structure within which there were abstract truncated forms. I called these works samples, because these truncated forms were fragments for me, pieces of a precise form. The most significant of these pieces was called "piece of a possible thing". Which seems important to me now, and I mean now, for I grant this matter an importance that at the time I perhaps may not have recognised: none of the faces of these pieces was favoured and there was no connection with the surrounding space. I went each day to the Biennale to swap them around so that, in turn, each face was shown.
- [...] You perceive your work in relation to the production of the time; which sculptors seem close to you or with whom would you like to be compared by critics?
- I do not know, I really cannot say that a particular oeuvre attracted my attention… Before we started this interview, you were talking to me about César, his compressed cars; I was greatly impressed by these pieces because they imposed their differences and did not seem to belong to the same category as the sculptural production I was seeing around. But it seemed to me that something was not developed in these compressions. Maybe I did not understand them?
I sometimes wonder if I have sufficiently taken into account what these compressions meant, because I have gone beyond what they seemed to offer. In 1967, I was working on the interior of sculpture. I was concerned about the internal organisation of forms... I was very attracted, seduced by the works of Noguchi and those of King, Caro, Paolozzi. But I knew nothing about the Americans because my knowledge of what was going on in art was that of a provincial... My winter stays in Paris happily allowed me some encounters and activities in other directions.
- It was at that moment that you met the exponents of Supports-Surfaces, Viallat...
- No. I have known Claude Viallat for a long time, forever: he's from Aubais, and I'm from Gallargues [ed: two villages approximately 5 km apart between Montpellier and Nîmes]. We have been friends since childhood. But we had lost touch. I knew he was teaching in an art school, but I knew nothing about Supports/Surfaces, the existence of which I learned like everyone else, thanks to the A.R.C. exhibition in 1968.
- That's interesting, because we have read in a periodical that Toni Grand and Pagès had split with the group in 1968 because they decided to adopt their provincial situation and refused to play the game of 'Parisianism'...
- Ah! That's funny, but it's wrong! I never really tied in with Saytour, Valensi, Pages except when I went to live in Nice. Viallat was already gone. This meeting was fruitful. I then left the workshop to teach. The perspective of working as a sculptor seemed impossible to me then. I had some theoretical discussions with Saytour and Valensi that allowed me to formulate everything that underlay this disaffection for work in the studio. But I did not participate in the fundamental theoretical work. When I met them, the theoretical argument existed like the objects that corresponded to it...
- Was that when you started working with wood in the objects we know now?
- The works I produced then called into play what forces and what resists, the rigid and the modifiable, which enables some action and which directly opposes this. [...]
- It could equally have been stone...
- Indeed, but for me it was wood. In this choice, maybe some attachments are obvious. I do not know. But I do not think the fact that it was wood is very important. We shouldn't stress this...
- It seemed to me during our conversations that you attach great importance to neutrality, that you have striven to reach some sort of neutral production and to use wood as a material that is neutral meaning as signifier and neutral also as signified.
- That's it, stone would have suited just as well, but wood seems suitable to me for making visible some experiences, quite simply, and that's why I like it.
- So there was a decision; you chose wood, you preferred it?
- Yes, but I would not stress the business about the wood. There is a symbolic load in wood that remains present in my work. But what I do slots in with the symbolic use of wood, even setting up a certain position of a power struggle with what wood symbolises.
- You told me that wood is a primary material; stone could also be called such. But would it have allowed what wood enables: a working of the material corresponding to the theoretical decisions developed by Supports/Surfaces?
- No, things did not go like that. What mattered to me was the possibility of a regularity in my working a material. Maybe I had the feeling that stone was a definitive material. A certain idea of ​​sculpture requires the sculpted work to be cast in bronze or to be of stone, two noble and durable materials. But here I see no common denominator with woodcarving. If there is a tradition, it's of something else. Wood is an important fact. On the one hand the uses of wood, in carpentry, joinery, for fire; a certain referent; on the other a considerable symbolic value. That this dangerous near relation exists amuses me but also makes the work clear. What takes place is not the event of the wood itself but what which wood provides the opportunity for in very general terms, it seems to me. [...]
- On a more formal note: can one compare what you do with wood to what Bob Morris does with felt?
- It's true that Bob Morris does not cut felt to the end and I do not saw wood entirely. But if I leave parts intact it is so that we can see the unworked part, so it can exist, nearby, next to the cut part. Morris does not completely cut his felt for other reasons that seem formal to me and which govern the amounts of "cut" and "uncut". He sees this work on the wall. I say this because I have seen Morris's pieces hung by the uncut part and they seem to seek another presence of the object ...
- Do you exert any violence on the material, as does Bob Morris?
- Yes, there is violence. The craftsman does not apply any violence; he transforms wood according to the standards. Is it a violence to take a cherry tree to make it into a wedding cabinet for your daughter?
- One can note a sort of plan in your work: to abolish depiction, a depiction that persists in your sculpture. This is still the artistic discipline that can produce "allegories"...
- Each piece corresponds not to a title but to a story which is that of the actual operations and the state of things. A story that refers in some way to the project in general, to the intention, if you like, that what I do is not sculpt but disassemble, reassemble, separate, split, cut, bend... As you might say in other work situations, dip, tear, dirty, soak or solarise... I do not think that this ambiguous narrative allows for an allegorical play; it is there by necessity, and thus the place of language is taken literally in this way before the arrival of something else…
- You highlight the semantic ambiguity of words... Your works resulting from a neutral act on a neutral material do not impose the banal evidence of separation and assembly on the viewer: they are also sculptures, art objects... They will elicit comments, interpretations, [...] readings that are guided by the presentation of the pieces, their arrangement in space...
- Yes, the pieces are so oriented that the viewer is wholly disoriented to the point that the inevitable question is their relationship to the sculpture, that is to say to what one knows about a category of expression. Certainly because implicitly the place is for sculpture and sculpture for the place! And so we return to the pedestal… The pedestal or some form of obliged presentation of which it is the main sign. When this sign (of spatiality and composition too) absents itself, is this sculpture? When it is really absent, because I see the abstract and dominant schema in Minimalist sculpture or someone else who says it should be done away with. To the extent that such works exist according to an order established by time and space, a ritual of looking and of presence that governs this theatre, in line with the arrangement of the pedestal. But this theatre does not interest me. So I answer the question by saying that the objects take the situation of the space that the work calls for for its "understanding", and that this is the reference for these situations...
- Your work therefore avoids this commonplace: the pedestal, and is by definition atopic. But there are display necessities that require an arrangement, even if only the obligation to present the series which alone can account for the work processes and tackled the evidence of the elementary…
- It does not seem to me that we need this elementary form, to go back to primary gestures... But is it that simple? The elementary and complex are a function of the gaze you apply to things. A decisive piece in my work, a curved branch that was simply split, but not entirely, seemed to me very complex and a whole work resulted from it. Neither simple, nor complicated, neither primary, nor archaic. So I am worried lest we reduce too much when it comes to what is simple and elementary...
- All discourse is simplistic, and art criticism always suffers the temptation of substituting its discourse, its explanation to the actual work in question...
- Yes, and to the explanation I prefer a discourse on the possibilities with what its supposes in terms of detours, discontinuous, of hazards, surprises and attachments.
Wanting to define, to find precursors and foundations to fix things is like redoing something for a work that has no need of it: a pedestal...

Bernard Ceysson,
"Interview with Toni Grand » (extract), in "Toni Grand , Bernard Pagès ",
Musée d'art et d'industrie, Saint-Étienne, 1976

On rereading it, this interview appears to me as though marked by the stigmata of the 1970s. This is, of course, only natural, only evidence of time passing. But it is still nonetheless a document. It highlights the questions of the day with regard both to Toni Grand and with his "Interviewer, concerning painting as painting and sculpture as sculpture. This kind of tautology, however absurd it may appear to me today, reflects this obsession of a task that strove to draw from material more than a form or configuration of forms including the visually effective and obvious "Beauty", without using any artifice whatsoever, without the addition of any tricks learned and borrowed from various trades, which appeared on viewing a work. No subject, no narrative declared itself or emanated from this, giving a readable meaning or significance to works that their authors defined in the first instance by their form born of a dialectical game determined by their materiality, and a work that especially did not seek to transform the latter.
This game was based on a system of postulates explicitly linked to the history of the material and to the histories of artistic work. And these histories had to link up with the History made by men, the masses, in order to achieve the epiphany of the Ideal City. So this artistic practice, then, was to have been rooted in the humanities in vogue at the time: Marxism and its fratricidal tendencies, psychoanalysis and its conflicting currents, structuralism and its sometimes delusional schisms, but it nevertheless required the premises - embodied in an artistic practice unable to become mired in any disturbing "theoreticisms" - of an anthropology of art which is still lacking today. For these works whose appearance seems to make clear their absence of content, are not only forms of aesthetically impeccable configurations, but also no less than configurations of signifying forms whose "intrinsic" content seems inexhaustible. That is why, they then imposed a somewhat unusual and sometimes excessively pedantic vocabulary. The accompanying text bears the trace of this. Deliberately. To indicate that the interview motivating it already deviates from this and that a shift towards more poetic, more symbolic shores of art than those of the then current and dominant formalism were emerging slowly from the sayings of Toni Grand. On seeing the exhibition, perhaps, we will let ourselves, swimming against the stream from the valley upwards, consider that what was at stake in this formalist time under the guise of a theoretical discourse of a seemingly relentless rationality, was the search for absolute form, for Form at last crystallising the eternal fusion between artefact and organic.
Art and Nature. A kind of creative philosophy rejecting any imitation and forever crushing the false classicism of "Ut pictura poesis"?

Bernard Ceysson, September 2013

Group shows at Ceysson Gallery
Unfurled: Supports/Surfaces 1966-1976, Offsite
February 01 - April 21, 2019

Jacques Lepage. Dossier Supports/Surfaces, Paris
December 19, 2018 - January 26, 2019

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Solo shows

2016
Traverses, l'art d'aujourd'hui rencontre Le Corbusier, Eglise St Pierre, Firminy, France

2014
Toni Grand, Nature et artefact. Rétrospective, MAMCO, Geneva, Switzerland

2007
Toni Grand, Centre Georges Pompidou, Paris, France

2003
présentation de la donation, Musée des Beaux-Arts, Nantes, France

2002
Galerie-Librairie Philippe Pannetier, Nîmes, France

2001
Arlogos Gallery, Paris, France

2000
Renaissance Society, Chicago, USA

1998
Ecole régionale des Beaux-Arts, Le Mans, France

1994
Galerie Nationale du Jeu de Paume, Paris, France
Museum Moderner Kunst Stiftung Ludwig Wien, Palais Liechtenstein,Vienna, Austria
Museum im Deutschherrenhaus, Koblenz, Germany

1993
Museum of Modern Art, Céret, France

1991
Musée des Beaux-Arts, Nantes, France

1990
Musée Rodin, Paris, France

1989
Musée d'Art Contemporain, Lyon, France
Musée Rodin, Paris, France
Centre d'Art Contemporain de Vassivière, France

1988
Galerie de Paris, Paris, France

1987
Jacques Girard Gallery, Toulouse, France
Arlogos Gallery, Nantes, France
Galerie de Paris, Paris, France
Galerie Pringst- Hunst, Cologne, Germany
Eglise Saint-Martin du Réjean, Arles, France

1986
Galeries contemporaines, Centre Georges Pompidou, Paris, France

1983
ARCA, Marseille, France
Musée Sainte-Croix, Poitiers, France

1982
With Simon Hantaï, XLème Biennale de Venise, Pavillon français, Milan, Italy
Toni Grand, sculpture, Galerie Françoise Lambert, Paris, France

1981
Salles romanes du Cloitre Saint-Trophime, Arles, France

1980
Toni Grand - Sculptures, Musée Savoisien, Chambéry, France

1979
Kom Wi Gallery, Tokyo, Japan
Eric Fabre Gallery, Paris, France
Toni Grand- sculptures, Musée Savoisien, Chambéry, France

1978
Albert Baronian Gallery, Brussels, Belgium

1977
Toni Grand - Sculptures, Athanor Gallery, Marseille, France

1976
Toni Grand - Bernard Pagès, Musée d'Art et d'Industrie, Saint-Étienne, France

1975
Le Flux Gallery, Perpignan, France

1974
First Solo Show, Eric Fabre Gallery, Paris, France

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Group shows (selection)

2019
Back To Simple Radical Gestures - The Supports/Surfaces Movement: Within And Around, Tsinghua University Art Museum, Beijing, China
Unfurled: Supports/ Surfaces 1966-1976, curated by Wallace Whitney, MOCAD, Detroit, USA

2017
École(s) de Nice 1947 - 1967, curated by Hélène Guénin, MAMAC, Nice, France
Supports/Surfaces, Carré d'Art, Nîmes, France
L’état de Nature, Galerie Christophe Gaillard, Paris, France

2016
Traverses, l'art d'aujourd'hui rencontre Le Corbusier, Eglise St Pierre, Firminy, France

2015
Ouverture pour Inventaire, Hab Gallery, Nantes, France

2014
Colonnes à la une Œuvres de la collection du Frac Bretagne, Rennes, France

2013
The Never Ending Stories cycle, MAMCO, Geneva, Switzerland
Ether REAL, En suspension, Les Moulineaux, France

2012
Champ d'expériences (Field of Experiences), Centre international d'art, Ile de Vassivière, Beaumont-du-Lac, France
The Other Half of the Sky, Ludwig Museum Budapest, Budapest, Hungary
Toni Grand et Christian Jaccard, Château de La Roche-Guyon, France

2010
Le paradoxe du diaphane et du mur: Toni Grand, Laura Lisbon, Bernard Moninot, Vincent Péraro, ARGART, Amilly, France

2009
TONI GRAND, École Supérieure des beaux-arts du Mans, France
MOCAs First Thirty Years MOCA GRAND AVENUE, Los Angeles, USA

2007
Peter Friedl, Toni Grand, Musée de Marseille, Marseille, France
Atelier Brancusi, Paris, France
Rouge baiser, Frac des Pays de la Loire, Carquefou, France
Orthodoxes-Heterodoxes, Le 19 Crac, Montbéliard, France
La révélation de l'espace, Couvent des Cordeliers, Saint-Nizier-sous-Charlieu, France

2006
A propos de Mona Lisa, Frac Languedoc-Roussillon, Montpellier, France

2005
Big Bang - Destruction and creation in 20th century art, Centre Georges Pompidou, Paris, France

2003
Quelques cabinets d'amateurs, le cabinet de Gabriel Orozco, FRAC Picardie, Amiens, France
Les 20 ans des FRAC, Frac Ile-de-France/Le Plateau, Paris, France

2002
Nouvelles acquisitions, Musée National d'Art Moderne, Centre Georges Pompidou, Paris, France

2001
Vides inclus, collection FRAC Bretagne, Galerie du Cloître, Ecole des Beaux Arts, Rennes, France
Mélanges, Domaine de Kerguéhennec, Bignan, France
Affinités, Le Quartier, Quimper, France

2000
Prélèvement d'espaces, FRAC Provence-Alpes-Côte d'Azur, Galerie Friche de la Belle de Mai, Marseille, France

1998
Nouvelle histoire, Frac Languedoc-Roussillon, Montpellier, France

1997
Made in France, MNAM Centre Georges Pompidou, Paris, France
Documenta X, Kassel, Germany

1994
Toni Grand, Galerie nationale du Jeu de paume Paris, Paris, France
Camden Arts Centre, London, UK

1993
Du simple au double, Museum of Modern Art , Céret, France
Toni Grand : Sandwich dans le train, Galerie Alain Veinstein, Paris, France

1991
L'amour de l'art, Biennale d'art contemporain, Lyon, France

1990
XLIV°Biennale de Venise, Fondation Peggy Guggenheim, Venise, Italy
Le Bel Age, Château de Chambord, France
Autour de 1968, utopies concrètes dans l'art et la société, Kunsthalle, Düsseldorf, Germany

1989
Château d'Oiron, Thouars, France
Liberté et égalité, Museum Folkwang, Essen, Germany
Liberté et égalité, Kunstmuseum, Winthertur, Switzerland
Toni Grand, Richard Monnier, Gérard Thupinnier, une chose à la fois, Arlogos Gallery, Nantes, France

1988
acquisitions, FNAC, Paris, France

1987
L'époque, la Mode, la Morale, la Passion, Centre Georges Pompidou, Paris, France

1985
Sculptures-Préfiguration d'un Parc, Fondation Cartier pour l'Art Contemporain, Jouy-en-Josas, France
Fonds régional d'Art contemporain Provence-Alpes-Côtes d'Azur 1982-1983, Fondation Maeght, Saint-Paul, France
Sagas - Versant Sud: Parcours dans l'art d'aujourd'hui de Bordeaux à Nice, Palau Meca, Barcelona, Spain
Ils collectionnent: premier regard sur les collectionneurs d'art contemporain, Musée Cantini, Marseille, France
Anciens et nouveaux, choix d'oeuvres acquises par l'Etat ou avec sa participation de 1981 à 1985, Galeries Nationales du Grand Palais, Paris, France

1984
An international survey of recent painting and sculpture, Museum of Modern Art, New-York, USA
Préfiguration d'une collection / Art Contemporain à Nîmes, Musée des Beaux- Arts, Galerie des Arènes, Nîmes, France
Fonds régional d'Art contemporain 1982-1983, Musée Cantini, Marseille, France

1982
Choix pour aujourd'hui: regard sur 4 ans d'acquisitions d'art contemporain, MNAM, Centre Georges Pompidou, Paris, France

1981
37 aktuella Konstnarer frän Frankike frän Frankike / 37 peintres français contemporains, Liljevalchs Konsthall, Stockholm, Sweden

1980
Cantini 80, Musée Cantini, Galerie de la Charité, Marseille, France
6 ième Foire Internationale d'Art Contemporain, Grand Palais, Paris, France
Chacallis, Charvolen, Grand, Jaccard, Viallat, Athanor Gallery, Marseille, France
International Sculpture Conference, Humphrey Building, Washington, USA
Musée d'Art et d'Industrie, Saint-Étienne, France

1979
Ateliers d'aujourd'hui: oeuvres contemporaines des Collections Nationales, accrochage II, MNAM, Centre Georges Pompidou, Paris, France
Universités de Toulouse-Le Mirail, France
TP/Travaux Publiques, Limoges, France
Ateliers d'aujourd'hui: oeuvres contemporaines des Collections Nationales, accrochage II, Chapelle du Lycée Fromentin, La Rochelle, France
Pintura de Uei en Occitania d'Estiu, Università occitana d'Estiu, Nîmes, France
Tendances de l'Art en France I, 1968-1978/79, ARC, Musée d'Art Moderne de la Ville de Paris, Paris, France
Préfiguration d'un musée d'art moderne de la ville de Nîmes, Nîmes, France
13e Biennale internationale d'Art, Palais de l'Europe, Menton, France
4e Foire internationale d'Art contemporain, Grand Palais, Paris, France

1978
Toni Grand / Claude Viallat, Avignon, France
Aspect de l'art en France, Art 9'78, Bâle, Switzerland
D'hier à demain, un aspect de l'art actuel, Direction des Musées de Nice, Galerie de la Marine, Nice, France
Focus 78, Centre culturel du Marais, Paris, France

1977
3 villes-3 collections- l'avant-garde 1960-1976, Musée Cantini, Marseille; Musée de Peinture et de Sculpture, Grenoble; Musée d'Art et d'Industrie, Saint-Étienne, MNAM, Centre Georges Pompidou, Paris, France
Le dessein au travail, ARC, Musée d'Art Moderne de la Ville de Paris, Paris, France
Toni Grand, Suzanne Harris, Côme Mosta-Heirt, Galerie CM, Saint-Étienne, France
Collectif Change, Maison des Jeunes et de la Culture, Amiens, France
Between painting ans sculpture, CIC, Gand Galerie Schema; Franca Pisani, Milan; Arte Fiera, Bologna, Italy
4e Foire Internationale d'Art Contemporain, Grand Palais, Paris, France

1976
Toni Grand, Bernard Pagès, Musée d'art et d'industrie, Saint-Étienne, France

1975
Toni Grand, Claude Viallat, Julian Petro Gallery
Fine Arts, Building, New York, USA
Grand, Jaccard, Pagès, Saytour, Viallat, Galerie Maillard, Vence, France

1971
Supports/Surfaces, Théâtre municipal de Nice, Nice, France

1968
XXe Salon de la Jeune Sculpture, Paris, France

1967
Ve Biennale de Paris, Musée d'Art Moderne de la Ville de Paris, Paris, France

2013
Toni Grand, Nature et artefact. Rétrospective in cycle Des histoires sans fin, fall-winter 2013-2014.

2007
Toni Grand. La légende, 2007, (français/english), writings by Amelie Grand, Françoise Vasseur-Cologan and Didier Semin.
Peter Friedl, Toni Grand, 2007.

2009
Mel Ramsden et Michael Baldwin, TONI GRAND, École Supérieure des beaux-arts du Mans.

2005
Philippe Dagen, Toni Grand, sculpteur français, LE MONDE, December 2nd 2005.

2002
Toni Grand, 2002.

1998
Les années SUPPORTS SURFACES dans les collections du Centre Pompidou, Paris, Jeu de Paume, 1998.

1994
Toni Grand, exhibition catalogue, writings by Richard Deacon and Frédéric Paul, Galerie nationale du Jeu de Paume-Camden Arts Centre.
Toni Grand, Vienna, Museum Moderner Kunst Stiftung Ludwig Wien/Palais Liechtenstein/Koblenz, Ludwig Museum im Deutschherrenhaus, 1994.

1993
Toni Grand : « du simple au double, sculptures », Editions Musée d'art moderne de Céret, 1993, writings by Joséphine Matamoros and Bartomeu Mari.
« Rien à voir, tout à voir : Toni Grand, Bernard Piffaretti », Editions Ateliers d'artistes de la ville de Marseille, 1993, writings by Inès Champey.

1991
Toni Grand, Musée des Beaux-Arts de Nantes, exhibition catalogue, 1991.
Les Années SUPPORTS SURFACES, Paris, Editions Herscher, 1991.

1989
Toni Grand, Edition : Lyon : Musée d'art contemporain, exhibition catalogue, 1989.
Vilain, Jacques, Toni Grand, Paris, France : Musée Rodin, 1989.

1986
Toni Grand, exhibition catalogue, coll. Contemporains, Musée national d'art moderne-Centre Georges-Pompidou, Paris, 1986.

1984
Pierre-André Boutang, Yves Michaud, Toni Grand 1982-1983, 1984 (documentary).

1983
Toni Grand. Sculptures, 1982-1983, Edition : Poitiers : Musée Sainte-Croix, 1983.

1982
Toni Grand, Art Press N°64, 1982.
Toni Grand. Biennale de Venise, Pavillon de la France, 1982, writings by Didier Semin.

1981
Toni Grand, Arles, Salles romanes du cloître St-Trophime, 1981, writings by de Michèle Moutashar.

1979
Toni Grand : Sculptures 1976-1979, Chambéry, Musée Savoisien, 1979, writings by Bernard Ceysson et Yves Michaud.

1976
Toni Grand, Bernard Pagès, Saint-Étienne, Editions Musée d'art et d'industrie, 1976.