Sentences with phrase «artist by art historian»

On the occasion of the exhibition, a new monograph on Riley is forthcoming from David Zwirner Books, featuring new scholarship on the artist by art historian Richard Shiff.

On the occasion of the exhibition, the gallery will publish a catalogue in collaboration with Steidl, Göttingen, which will feature new scholarship on the artist by art historian James Lawrence.

Filled with extraordinary color plates and personally selected archival images, this comprehensive book offers a rich overview of more than two decades of her brilliant and controversial paintings, along with interpretive essays by Bedford and leading art historians Suzanne Hudson and Catherine Lord, a text by Pulitzer Prize - winning writer and physician Siddhartha Mukherjee, and an interview with the artist by art historian and curator Katy Siegel.

Not exact matches

English landscape painter JMW Turner, commonly exalted as «the painter of light», was one of the great artists of the 19th century, his work considered by art historians something of a precursor to the impressionist movement.

Then in the face of these facts, accepted by artists at least, she concludes: «Of course, no serious contemporary art historian ever takes such obvious fairy tales at their face value.»

Nochlin was beloved by many artists, and many painted her, including Alice Neel (a work that also includes the art historian with Daisy, her daughter with Pommer), Deborah Kass, and Kathleen Gilje.

The foundation was established by art historian William Arnett and his sons, and once they have dispersed their own collection to institutions, will focus on education and other artist support initiatives.

Body and Matter is accompanied by a fully - illustrated exhibition catalogue, Body and Matter: Kazuo Shiraga Satoru Hoshino, featuring poetic writings by both artists as well as original essays by curator Koichi Kawasaki and noted art historian John Rajchman.

The publication will include new scholarship on Judd by noted art historian Richard Shiff, in addition to archival material and re-printed interviews with the artist.

Examples from Rythm Master were featured in light - box displays in «Mastry,» the artist's retrospective (2015 - 2017); the series inspired «Above the Line,» a hand - painted mural installed along the High Line, the elevated park in New York City (2015 - 2016); and was the subject of an academic paper by art historian and curator Ellen Tani, delivered in 2016 at the Black Portraiture [s] III conference in Johannesburg.

Artist Isabelle Cornaro is joined in conversation by Briony Fer, art historian, curator, writer and professor of History of Art at UCL, to discuss her current solo exhibition, Paysage avec poussin, at the South London Gallery, on view from 24 Jan - 5 Apr 2art historian, curator, writer and professor of History of Art at UCL, to discuss her current solo exhibition, Paysage avec poussin, at the South London Gallery, on view from 24 Jan - 5 Apr 2Art at UCL, to discuss her current solo exhibition, Paysage avec poussin, at the South London Gallery, on view from 24 Jan - 5 Apr 2015

IN 1988 — Certificate of Excellence, New York ’88 International Art Competition, Art Horizons Exhibition, Larchmont, NY 1986 — Certificate of Excellence, North Coast Collage Society Exhibition, Hudson, OH 1986 — Honorable Mention, Nepenthe Mundi Society Exhibition, Kansas City, MO 1986 — Certificate of Excellence, Metro Art International Exhibition, Greene Street Gallery, Scarsdale, NY 1986 — Favorable Review by art historian & New York Times critic Mr. Hilton Kramer, Ultrasound, R.H. Love Gallery, Chicago, IL 1985 — New Jersey Chapter Award, 2nd Place, American Artists Professional League Exhibition New York, NY 1985 — Personal invitation by internationally known modern master, Kenneth Nolan, to work on the installation of his show 1984 — MWS Letters Award, Midwest Watercolor Society, Neville Public Museum, Green Bay, WI 1983 — Internorth Foundation Award, Midwest Watercolor Society, Davenport Art Gallery, Davenport, IA 1982 — Daniel Smith Award, Midwest Watercolor Society, West Bend Museum of Art, West Bend,Art Competition, Art Horizons Exhibition, Larchmont, NY 1986 — Certificate of Excellence, North Coast Collage Society Exhibition, Hudson, OH 1986 — Honorable Mention, Nepenthe Mundi Society Exhibition, Kansas City, MO 1986 — Certificate of Excellence, Metro Art International Exhibition, Greene Street Gallery, Scarsdale, NY 1986 — Favorable Review by art historian & New York Times critic Mr. Hilton Kramer, Ultrasound, R.H. Love Gallery, Chicago, IL 1985 — New Jersey Chapter Award, 2nd Place, American Artists Professional League Exhibition New York, NY 1985 — Personal invitation by internationally known modern master, Kenneth Nolan, to work on the installation of his show 1984 — MWS Letters Award, Midwest Watercolor Society, Neville Public Museum, Green Bay, WI 1983 — Internorth Foundation Award, Midwest Watercolor Society, Davenport Art Gallery, Davenport, IA 1982 — Daniel Smith Award, Midwest Watercolor Society, West Bend Museum of Art, West Bend,Art Horizons Exhibition, Larchmont, NY 1986 — Certificate of Excellence, North Coast Collage Society Exhibition, Hudson, OH 1986 — Honorable Mention, Nepenthe Mundi Society Exhibition, Kansas City, MO 1986 — Certificate of Excellence, Metro Art International Exhibition, Greene Street Gallery, Scarsdale, NY 1986 — Favorable Review by art historian & New York Times critic Mr. Hilton Kramer, Ultrasound, R.H. Love Gallery, Chicago, IL 1985 — New Jersey Chapter Award, 2nd Place, American Artists Professional League Exhibition New York, NY 1985 — Personal invitation by internationally known modern master, Kenneth Nolan, to work on the installation of his show 1984 — MWS Letters Award, Midwest Watercolor Society, Neville Public Museum, Green Bay, WI 1983 — Internorth Foundation Award, Midwest Watercolor Society, Davenport Art Gallery, Davenport, IA 1982 — Daniel Smith Award, Midwest Watercolor Society, West Bend Museum of Art, West Bend,Art International Exhibition, Greene Street Gallery, Scarsdale, NY 1986 — Favorable Review by art historian & New York Times critic Mr. Hilton Kramer, Ultrasound, R.H. Love Gallery, Chicago, IL 1985 — New Jersey Chapter Award, 2nd Place, American Artists Professional League Exhibition New York, NY 1985 — Personal invitation by internationally known modern master, Kenneth Nolan, to work on the installation of his show 1984 — MWS Letters Award, Midwest Watercolor Society, Neville Public Museum, Green Bay, WI 1983 — Internorth Foundation Award, Midwest Watercolor Society, Davenport Art Gallery, Davenport, IA 1982 — Daniel Smith Award, Midwest Watercolor Society, West Bend Museum of Art, West Bend,art historian & New York Times critic Mr. Hilton Kramer, Ultrasound, R.H. Love Gallery, Chicago, IL 1985 — New Jersey Chapter Award, 2nd Place, American Artists Professional League Exhibition New York, NY 1985 — Personal invitation by internationally known modern master, Kenneth Nolan, to work on the installation of his show 1984 — MWS Letters Award, Midwest Watercolor Society, Neville Public Museum, Green Bay, WI 1983 — Internorth Foundation Award, Midwest Watercolor Society, Davenport Art Gallery, Davenport, IA 1982 — Daniel Smith Award, Midwest Watercolor Society, West Bend Museum of Art, West Bend,Art Gallery, Davenport, IA 1982 — Daniel Smith Award, Midwest Watercolor Society, West Bend Museum of Art, West Bend,Art, West Bend, WI

And in between (literally), at Kai Matsumiya, is a kind of palette cleanser in the display of Rainer Ganahl's wonderfully random photographs of art world lectures being given by such luminaries as the art historian Linda Nochlin and the performance artist Andrea Fraser.

Published on the occasion of her first exhibition at David Zwirner in fall of 2010, this beautifully designed and produced catalogue — with a text by noted curator and art historian Joachim Pissarro — features Suzan Frecon's most recent large - scale oil paintings, along with newly commissioned color photography of exhibition and studio installation views, as well as the artist's notebooks and sketches.

In a provocative article titled «The Curious Case of Contemporary Ink Painting» (Art Journal, Fall 2010), art historian Joan Kee has recently suggested that despite being chosen to represent South Korea in international biennials in the 1960s, Suh and other Mungnimhoe painters were marginalized in their own country by being classed as «ink painters» rather than as contemporary artisArt Journal, Fall 2010), art historian Joan Kee has recently suggested that despite being chosen to represent South Korea in international biennials in the 1960s, Suh and other Mungnimhoe painters were marginalized in their own country by being classed as «ink painters» rather than as contemporary artisart historian Joan Kee has recently suggested that despite being chosen to represent South Korea in international biennials in the 1960s, Suh and other Mungnimhoe painters were marginalized in their own country by being classed as «ink painters» rather than as contemporary artists.

Italienische Landschaft belongs to the group of early photo - paintings of faraway places that art historian Dietmar Elger specifically highlighted as exemplary for the dichotomy they presented «between the objectifiable distance generated by black and white painting and the artist's personal interest in the motifs» (Dietmar Elger, Gerhard Richter Landscapes, exh.

This exhibition is curated by art historian Kene J. Rosa and artist Louis Jacinto, whose work has been exhibited in the Southern California area since 1980.

This will be followed by a panel discussion, moderated by art historian Rob Slifkin and featuring artists Max Kozloff, Tod Papageorge, and Martha Rosler, all of whom have written persuasively on related subjects.

The exhibition coincides with the publication a major new monograph on the artist by the esteemed art historian Alexander Nemerov.

The show features paintings and works on paper by the artist from 1981 to present; the fully illustrated catalogue features an essay by the art historian Richard Shiff and biographical notes compiled by Robert Kudielka.

This group of exclusively male artists were often referred to as action painters, a term coined by Modernist art historian Robert Rosenblum, referring to the abstract, gestural painting style.

In the new publication Renée Radell: Web of Circumstance, Eleanor Heartney opens with this now - famous 1971 provocation by legendary art historian Linda Nochlin, «Why have there been no great women artists?»

B.A., Amherst College; creates An Image of Salomé for his senior thesis project, which is published by the artist and printed at Apiary Press, run by Baskin's students at Smith College; meets and becomes good friends with Baskin's assistant George Lockwood, who would later found Impressions Workshop in Boston; marries Gail Beckwith (later, the poet Gail Mazur), who was then a student at Smith College; begins graduate study at School of Art and Architecture, Yale University, New Haven; studies with Gabor Peterdi, Bernard Chaet, William Bailey, Rico Lebrun, Sewell Sillman, Neil Welliver, art historian Egbert Haverkamp - Begemann, and Asian - art historian Nelson Wu, as well as with visiting artists Fairfield Porter and John Scheuler; makes regular Thursday trips with other students to Peterdi's home / studio; works as a teaching assistant for both Peterdi and BailArt and Architecture, Yale University, New Haven; studies with Gabor Peterdi, Bernard Chaet, William Bailey, Rico Lebrun, Sewell Sillman, Neil Welliver, art historian Egbert Haverkamp - Begemann, and Asian - art historian Nelson Wu, as well as with visiting artists Fairfield Porter and John Scheuler; makes regular Thursday trips with other students to Peterdi's home / studio; works as a teaching assistant for both Peterdi and Bailart historian Egbert Haverkamp - Begemann, and Asian - art historian Nelson Wu, as well as with visiting artists Fairfield Porter and John Scheuler; makes regular Thursday trips with other students to Peterdi's home / studio; works as a teaching assistant for both Peterdi and Bailart historian Nelson Wu, as well as with visiting artists Fairfield Porter and John Scheuler; makes regular Thursday trips with other students to Peterdi's home / studio; works as a teaching assistant for both Peterdi and Bailey.

The exhibit will be accompanied by a limited edition catalog designed by Jessica Fleischman / Still Room and includes essays by cutting - edge visual and performance artist Alex Donis, historian Julia Bryan Wilson, Linda Burnham (former Editor of High Performance Magazine), Dorit Cypis (former Director of Foundation for Arts Resources), and Clayton Campbell (former Artistic Director o18th Street Arts Center).

Craycroft's residency also includes a series of public programs: a panel discussion exploring the legal and ethical implications of expanded definitions of personhood, a choreographic response by artist Will Rawls, and the premiere of Craycroft's film followed by a conversation with art historian Gloria Sutton.

Through his relationship to Mr. Dial, Mr. Lockett came to the attention of William Arnett, an art historian and collector who began discovering and acquiring works by self - taught African - American artists throughout the South in the 1970s.

Kat Griefen, an art dealer and art historian, is the co-owner of Accola Griefen, which focuses on modern and contemporary art by American women artists and feminist artists of historical significance.

This catalog accompanying her New Museum exhibition features an interview with the artist by Natalie Bell and Massimiliano Gioni, new reflections on Yiadom - Boakye's work by artist Chris Ofili, and art historians Elena Fillipovic and Robert Storr.

It features essays by BMA Senior Curator of Contemporary Art Kristen Hileman; art historian and activist Jonathan David Katz; and critic, curator, and artist Robert Storr; as well as an interview with Waters by artist Wolfgang TillmaArt Kristen Hileman; art historian and activist Jonathan David Katz; and critic, curator, and artist Robert Storr; as well as an interview with Waters by artist Wolfgang Tillmaart historian and activist Jonathan David Katz; and critic, curator, and artist Robert Storr; as well as an interview with Waters by artist Wolfgang Tillmans.

A range of texts about Riley's original and enduring practice grounds and contextualizes the images, including new scholarship by art historian Richard Shiff, texts on both the artist's wall paintings and newest body of work by Paul Moorhouse, Twentieth - Century Curator at the National Portrait Gallery in London, and a 1978 interview with Robert Kudielka, her longtime confidant and foremost critic.

The French Institute Alliance Française (FIAF) welcomed legendary artist and bestselling author Françoise Gilot and art historian Sylvie Vautier for a conversation to celebrate the English release of Vautier's beautiful first book, Picasso / Picault, Picault / Picasso: A Magic Moment in Vallauris 1948 - 1953 published by... Read More

Wide - ranging and in - depth essays by over 30 contributors, including many of South Africa's leading art historians, cultural commentators and artists, make it an indispensable resource for curators, historians, students and artists.

Co-directed by art historian and curator Christine Eyene «Making Histories Visible «aims to make connections between artists, historians, curators and the wider community.

Kat has won many awards for her art including Gold for Best of the Best East End Artist in 2016 and 2017 and The Award of Excellence by Juror Karen Marks, Director of Manhattan's Howard Greenberg Gallery, one of the world's leading photography galleries as well as Juror Dr. Naomi Rosenblum, eminent photographic historian and Juror Jennifer McGregor, Director of Arts and Senior Curator at Wave Hill Cultural Center.

Moderator art historian Howard Singerman is joined by independent artist Anna Craycroft and artist and writer Mira Schor.

By the time I became aware of her work she had become a minor celebrity — a relic of the depression era who had ignored Abstract Expressionism, Pop, Minimal and Conceptual art and was still painting traditional portraits of her family and friends, as well as art historians, critics, curators and artists.

An art historian and gallery specialist by training, Liz is also an experienced educationalist, university lecturer and cultural consultant and works closely with artists to establish and lead an informal learning programme at the National Gallery in London.

About The Speakers Series: Each semester the Center for Curatorial Studies at Bard College hosts a regular program of lectures by the foremost artists, curators, art historians, and critics of our day, situating the school and museum's concerns within the larger context of contemporary art production and discourse.

Co-curated by Alfred Pacquement, former director of the Centre Pompidou, it will be accompanied by a fully - illustrated catalogue with essays by Mr. Pacquement and Robert Storr, art historian and Dean of the Yale School of Art, as well as an introduction by the artist's widow, Zsuzsa Hantart historian and Dean of the Yale School of Art, as well as an introduction by the artist's widow, Zsuzsa HantArt, as well as an introduction by the artist's widow, Zsuzsa Hantaï.

Concerned with questions of craftsmanship, modernity, design and the vernacular, Portuguese artist Leonor Antunes is joined by art historian Briony Fer to discuss her work, on the occasion of her new commission the frisson of the togetherness.

Beyond this, it's good to remember that art historians have also discriminated: The standard History of Art by Horst Janson, the tome used in university art history surveys for so many years, didn't include female artists until the mid-198art historians have also discriminated: The standard History of Art by Horst Janson, the tome used in university art history surveys for so many years, didn't include female artists until the mid-198Art by Horst Janson, the tome used in university art history surveys for so many years, didn't include female artists until the mid-198art history surveys for so many years, didn't include female artists until the mid-1980s.

The show is a survey exhibition of the Korean artist Minjung Kim's works made over the last fifteen years, curated by the art historian Jean - Christophe Ammann.

Frowned upon by generations of art historians as the last expression of irrationality (as opposed to perfect perspective) the primitive painters played a pivotal role in bridging Medieval styles with the resurgence of classicism characteristic of Renaissance artists and architects.

Founded in 2004 by art historian and curator RoseLee Goldberg, Performa is the leading international organization dedicated to exploring the critical role of live performance in the history of 20th century art and to generating new directions for the 21st century, engaging artists and audiences through experimentation, innovation, and collaboration.

This event was moderated by architecture writer and Chinati trustee Karen Stein and began with presentations by Chinati and Sasaki, followed by responses from art historian Richard Shiff, MoMA curator Ann Temkin, and artist Theaster Gates.

Curated by Linda Norden, an art historian, and Peter Ballantine, an authority on Judd, «Local History» features works from the late 1950s to the mid-1960s that underscore the three artists» shared obsession with the fine line between painting and sculpture.

Considered in terms of the social history of American art, however, he's an important figure, because, as the art historian David Driskell writes in the exhibition catalog, he was «among a small number of African - American painters in the nation working abstractly at the time, and he was among the few artists of color who were represented by a mainstream gallery in New York.»

Written by legendary performance art historian RoseLee Goldberg, Performa 11 is the definitive document of the Performa 11 biennial, and features documentation by the 150 artists who took part, including Robert Ashley, Tarek Atoui, Gerard Byrne, Simon Fujiwara, Guy Maddin, Liz Magic Laser, Athi - Patra Ruga, Laurel Nakadate and James Franco, Shirin Neshat and Frances Stark.

The show was conceived by Emilio Steinberger, the gallery's director, and organized with Linda Norden, an independent art historian and curator, and Peter Ballantine, a Judd specialist who once fabricated the artist's plywood pieces to exacting specifications.

The exhibition is accompanied by a full color catalog with essays by writer Taiye Selasi, Niger Delta historian Ebiegberi Joe Alagoa, environmental cultural studies scholar Stephanie LeMenager, exhibition curator Amy L. Powell, an interview with the artist by Princeton art historian Chika Okeke - Agulu.