Gustafson, Donna. George Segal in Black and White: Photographs by Donald Lokuta. New Brunswick: Zimmerli Art Museum at Rutgers University, 2015 (120 pages).
Lokuta, Donald. In Plato’s Cave: Photographs by Donald Lokuta. New York: hpgrp Gallery New York, 2011 (122 pages).
Lokuta, Donald, Yoskowitz, Robert and Viera, Ricardo. Vernacular to the Masters: Photography of the Anonymous and the Celebrated. Bethlehem: Lehigh University Art Galleries, 2008 (88 pages).
Esposito, Frank J. and Lokuta, Donald. Victorian New Jersey: Photographs by Guillermo Thorn from the Kean University Collection. Union: Kean University Press, 2005 (160 pages).
Lokuta, Donald and Yoskowitz, Robert. Click! The Marvelous in American Vernacular Photography. Trenton: New Jersey State Museum, 2000 (62 pages).
Lokuta, Donald and Wright, Giles (photographs by Donald Lokuta and text by Giles Wright). Looking Back: Eleven Life Histories. Trenton: New Jersey Historical Commission, 1986 (86 page book of photographs, text, and interviews).
Lokuta, Donald and Cohen, David (photographs by Donald Lokuta and text by David Cohen). Ukrainian-Americans: An Ethnic Portrait. Trenton: New Jersey Historical Commission, 1982 (56 pages).
Lokuta, Donald. History of Photography Instruction: A Report of Present Trends and Future Directions, New Jersey: Kean College of NJ, 1975 (110 pages).
Ironbound: Newark, New Jersey an Urban Portrait (a duotone portfolio of 10 photographs). Union: Lokuta Graphics, 1980.
SOLO EXHIBITION CATALOGS
Fletcher, Richard (curator). Donald Lokuta: Plato’s Cave – Segal’s Studio. OSU Urban Arts Space, Columbus, OH, 2013 (24 pages).
Lokuta, Donald. In Plato’s Cave: Photographs by Donald Lokuta. hpgrp Gallery New York, NY, 2011 (122 pages).
Lehigh University. Donald Lokuta Photography, George Segal: Intimate Portrait. Interview by Ricardo Viera. Bethlehem, PA, 2005.
Srećna Galerija. Donald Lokuta: Woman. Essay by Slavko Timotijević. Belgrade, Yugoslavia, 1983.
GROUP EXHIBITION CATALOGS
The Zimmerli Art Museum, Rutgers University. Subjective Objective: A Century of Social Photography. Munich: Hirmer, 2017, pp. 270, 238, and 239.
Stedman Gallery. George Segal in Black and White. Rutgers University, Camden, NJ, 2016, pp. 8-11.
George Segal Gallery. Between Here and Then: Photography from the Collections of Montclair State University. Montclair, NJ, 2016, pp.11, 18, 19, 20 and 21.
Drumthwacket. Inspire: Everyday People Changing New Jersey. Princeton, Drumthwacket, 2015, pp. 6-7.
The Zimmerli Art Museum, Rutgers University. Striking Resemblance: The Changing Art of Portraiture. New York: Prestel, 2014, p.113.
Museum of Art in Public Spaces (KOS). Power Memory People- Memorials of Today. KØge, Denmark, 2014, p.209.
Galleria Nationale d’Arte Moderna. Spazi di percezione tra intangibile e tangibile. Roma: Galleria Nationale d’Arte Moderna, 2014, 133 pages, pp. 104-05.
James Howe Gallery, Kean University. Through the Looking Glass: Scenes From New York City. Union, NJ, 2003, Cover photograph, pp. 2-7.
Kean University. Missing: Photographs by Donald Lokuta & Robert Cole. Union, NJ, 2002, pp. 2-8.
Merritt and Barth. 1000 Dogs. New York: Taschen, 2000, pp. 530-531 and 572.
The Gallery at Bristol-Myers Squibb. Real People: Six Artists. Princeton, NJ, 1996, cover and pp. 10-11.
Balch Institute for Ethnic Studies. Rites of Passage in America: Traditions of the Life Cycle. Philadelphia, PA, 1992, p. 64.
New Jersey Center for the Visual Arts. New Jersey State Council on the Arts 1990 Fellowship Exhibition. Summit, NJ, 1990, pp. 12, 54.
New Jersey State Museum. New Jersey Arts Annual: Printmaking & Photography. Morristown, NJ, 1988, p. 26.
The Morris Museum. New Jersey Arts Annual: Painting, Sculpture, Works on Paper. Trenton, NJ, 1989, p. 19.
Summit Art Center. Connections: Science Into Art. Summit, NJ, 1984, pp. 20-21.
Jersey City Museum. 81/82 Fellowship Exhibition. Jersey City, NJ, 1983, p. 7.
New Jersey State Museum. New Jersey State Council on the Arts Visual Arts Fellowship Recipients: 1978-1980. Trenton, NJ, 1981, p. 32.
Upper Arlington Municipal Services Center. Three Photographers. Upper Arlington, OH, 1980, 2 portfolio pages (unpaginated).
REVIEWS AND ADDITIONAL PHOTOGRAPHS PUBLISHED IN BOOKS, MAGAZINES, AND CATALOGS
Mateer, Jenee. Home- Lived Experiences, Springer, New York, 2022, fig, 1, p, 155.
McKim, Joel. Architecture, Media, and Memory: Facing Complexity in Post-9/11 New York, Bloomsbury, London, 2018, fig. 1.1.
Esquire Russia. “All In the Booth,” May 2016, p. 24-25.
Brooks Calendar. June-July 2014, p.8.
The Princeton University Library Chronicle. “Out in Front: Three Approaches to the Public Sculpture of George Segal,” Spring 2012, p. 473.
Aperture. Summer 2012, Issue no. 207, p.3.
Quintenz-Fiedler, Amanda. Photographer’s Forum, “In Plato’s Cave” (book review), Fall 2011, p.6.
Blais, Allison and Lynn Rasic. A Place of Remembrance: Official Book of the National September 11 Memorial, Washington, National Geographic 2011. p. 92.
The Princeton University Library Chronicle. “A Cast of One: Modeling for George Segal,” Spring 2010, p.456.
“Post-War American Art: The Novak/O’Doherty Collection,” ARTnews, November 2010, p.134.
Irish Museum of Modern Art. Post-Was American Art: The Novak/O’Doherty Collection, Dublin, 2010, p.22.
The Princeton University Library Chronicle. “George Segal: Recollections of the Artist and His Photography” Spring 2010, p. 392-423.
C.A.S. Gallery. George Segal Portraits: Sculpture and Drawings, Kean University, Union, NJ, 2006, cover, p. ii, iv, vii, 2 and 6.
Galerie Thomas Modern. George Segal. Munich, 2009, p. 56 and 6
The National 9/11 Memorial and Museum. Remembering 9/11. New York, 2009, p.4 and 6-7.
Friedman, Martin. “Casting Call: Martin Friedman on George Segal,” Artforum, January 2009, pp.77-78.
The Madison Museum of Contemporary Art. George Segal: Street Scenes, Madison, Wisconsin, 2008, p. 2-3, 6, 18, 20-21, 54, 56, 58, 60-64 and 66-67.
San Antonio Museum of Art. “Donald Lokuta Photographs: George Segal- An Intimate Portrait,” View: The Magazine of the San Antonio Museum of Art, Spring 2007, pp.2-3.
The George Segal Gallery. George Segal, Montclair: Montclair State University Art Galleries, 2006, p. 3, 12, 14, 16, 18, 20, 22-29, 32, 34, 36, 38, 40 and 42-43.
Zoellner Arts Center. George Segal (1924-2000): Selections from the George and Helen Segal Foundation, Bethlehem, Lehigh University Art Galleries, 2005, p.55.
Gerald Marzorati. “Night Watchman: Gerald Marzorati on Leon Golub,” Artform, XLII, no. 3, November 2004, p.23.
Mitchel-Innes & Nash. George Segal Bronze, New York, 2003, p. 3, 36, and 79.
The Hermitage. George Segal 1924-2000, St. Petersburg, 2002, p. 10.
Zimmerli Museum of Art. George Segal Retrospective: From the Artists Studio, New Brunswick, 2002-2003, pp. 9-20, 23, 50-51, 73, 131, and 162-163.
T.G. Concepts. George Segal Retrospective: From the Artist’s Studio, Tokyo, 2001, pp. 9-20, 23, 50-51, 73, 103, 131, 162-163.
Rutgers Magazine. “Alumni Notes: George Segal,” Fall 2000, pp. 48-49.
Luciana, James. Black and White Photography: Manifest Visions / An International Collection. Massachusetts: Rockport, 2000, pp. 1,86,138.
Kahler, Sonia. Franklin Delano Roosevelt: The Memorial, Washington, D.C., Parks and History Association, 1997, pp.11-12.
Fred Hoffman Fine Art. George Segal: New Photo Sculpture, Santa Monica, 1996, p. 3.
Sidney Janis Gallery and Galerie Tokoro. George Segal: Recent 15 Years, Tokyo, 1996, p.123.
Lorenzelli Arte. George Segal, Milan, 1995, pp. 49-50.
Lokuta, Donald and Esposito, Frank J. “Guillermo Thorn: A Pioneer Photographer of Late 19th Century New Jersey,” Yesterday and Today in New Jersey, August-September 1994, pp. 14-15.
Nelson, Pamela. Rites of Passage in America: Traditions of the Life Cycle.
Philadelphia: The Balch Institute for Ethnic Studies, 1992. p. 64.
Galerie Tokoro. George Segal: Recent Painted Sculpture, Tokyo, 1990, pp. 56-57.
New Jersey Center for the Visual Arts. George Segal: Sculptures 1958-1988, Summit, 1989, pp. 4, 25.
Art Directors Club of New Jersey. Pennsawken: Waldman Graphics, 1988, p. 15.
Macarol, Victor. “American Artist” NON (Monthly Magazine), Belgrade, Yugoslavia, July 1988, p. 42.
Lovell, Zwahlen, Folts. Handbook of Photography (second edition). New York: Delmar, 1987, pp. 117-118.
Schwarz, Ted. “Those Other Films: A Look at Black & White,” Studio Photography, November 1987, pp. 28-30.
Kenny, Adele. Illegal Entries. Merging Media, 1984, cover photograph.
Lovell, Zwahlen, Folts. Handbook of Photography. Massachusetts: Breton, 1984, pp. 109-110.
Agfa-Gevaert. “Developing Your Photographic Potential,” 1983, pp. 6-7, 11, 17, 33.
Cohen, David. “Ukrainian-Americans: An Ethnic Portrait,” Studies in Visual Communication, Winter, 1983, pp. 36-52.
Livingston, Kathryn. “Donald Lokuta,” American Photographer, September 1982, p. 38.
Lens On Campus, September 1982, p. 47.
Kenny, Adele. An Archaeology of Ruins. Woodcliff Lake: New Dimensions, 1982, cover photograph.
Rosler, Martha. Martha Rosler, 3 Works. Nova Scotia: Nova Scotia College of Art and Design, 1981, p. 69.
Livingston, Kathryn. “Which Twin Has the Tony?” American Photographer, June 1981, p. 9.
NJ Art Form, July-August 1981, cover photograph.
“Arbus Twins Revisited,” Modern Photography, July 1980, p.116.
Photographica (a publication of the Photographic Historical Society of New York, Inc.), May 1980, p. 10.
“Double Exposure,” New Jersey Monthly, May 1980, p. 40.
Helms, Sally. “Columbus Calendar,” Columbus Monthly, October 1980, p. 33.
NJ Art Form, July-August 1980, cover photograph.
“Don Lokuta: A Personal View,” NJ Art Form, May-June 1980, p. 3-7.
“A Mirror with a Memory.”NJ Art Form, March-April 1980, p. 3-5.
“Ironbound Explored,” New Jersey Music & Arts, Jan.-Feb. 1978, pp.10-11.
“Views of the Ironbound at Newark Museum,” Metro Newark, December 1977, p.57.