Sentences with phrase «at abstract painting as»

On the one hand, the art world tends to look at abstract painting as being traditional, even old - fashioned, which it is; when the paint was wet on those early Kandinskys, it was practically in the Victorian era, the space age still half a century away.

He even took a swipe at abstract painting as the most salable and least adventurous type of art being made:

Not exact matches

Instead, he stared at her back as if it was an abstract painting.

BP: I also heard a story that when John Currin was a grad student at Yale, you went as a visiting artist and, during the studio critiques, you told him that his work (he was making abstract paintings at the time) had something hard to find in painting: they had poverty.

3 Clyfford Still painted a traditional portrait of his mother (PH - 420) in 1946, the same year as his breakthrough exhibition of completely abstract paintings at Peggy Guggenheim's Art of this Century Gallery.

Abstracting her natural surroundings — from the plantings in her own yard to the vast displays at the nearby U.S. National Arboretum — Thomas painted flower beds and gardens, horticultural landscapes as if they were being viewed from an aerial perspective.

And Lewis's «Alabama II» (1969) deploys a small, barely visible line of marching stick figures on a searing expanse of sunset pink, hinting at the struggle for civil rights while still insisting on being read as an abstract painting.

Revelation: Major Paintings by Jules Olitski at American University Museum walks the viewer through Olitski's creative evolution as an abstract artist, -LSB-.....]

The light in the paintings acts as phenomenon, and at the same time the abstract color creates an experience of light and place.

NEW YORK — Opening June 26, paintings by Philip Hanson and Rebecca Shore will be on view at David Nolan Gallery as part of a group exhibition of abstract paintings.

Describing a finished or successful painting as possessed of a nice awkwardness, differentiating an atypical abstract painting from a great one, conscious of existing within the cultural context of abstraction, which adds to our understanding of emotion, logic, sensation, and concrete reality while at the same time existing at a... Read more

Though Flack has become an artist with an impressive career as a representational painter, and later a sculptor of public monuments, her early experiments in abstract painting — like those of Pat Passlof, shown at Elizabeth Harris last year — mirror and impersonate the classic AbEx look.

Contemporary painters like Sean Scully, whose black - stripe paintings from 1975 to 1980 are at LeLong, and John Zurier, whose wispy abstract paintings are at Peter Blum, uphold their medium as a vehicle of timeless poetics.

Painted in 1966, this majestic painting anticipates at once his large scale photo - paintings and abstract works, such as Vierwaldstätter See (Lake Lucerne), 1969, and his monochrome Graue Bilder (Grey Paintings) from tpaintings and abstract works, such as Vierwaldstätter See (Lake Lucerne), 1969, and his monochrome Graue Bilder (Grey Paintings) from tPaintings) from the 1970s.

I think the thought depends on being at a greater distance from the early 20th century, that while Reinhardt and everyone else could not imagine abstraction (whatever he may have said to the contrary) other than as a struggle to find what an abstract as opposed to a representational painting really might be and do, is no longer the case.

Hopefully this burst of intimately scaled creativity by Joanne Greenbaum — as 1612, her first iteration of small - size abstract paintings at D'Amelio Terras (on exhibit through November 12th)-- is just the beginning.

These included: Mark Rothko, Philip Guston («Philip would say again and again — as if he had never said it before — that everything in a work of his had to be «felt»»), Franz Kline (he «held court at the Cedar Street Tavern almost every night after ten»), David Smith, Tony Smith, Robert Motherwell, Ad Reinhardt, Jackson Pollock, Barnett Newman, Hans Hofman («I always admired Hans» painting and believe that certain of his pictures — Lava and Agrigento come to mind — must be numbered among the greatest abstract expressionist canvases»), Willem de Kooning, and Clyfford Still («as a de Kooning man, it took me time to appreciate Still's innovation»).

Writers and curators, viewing these paintings at the time of their production, recognized the near - mystical arrangement of mathematic symbols and abstract shapes contained within these works as a language wholly the artist's own.

These successes launched Hoptman back to MoMA in 2010 as curator of contemporary art in its painting and sculpture department, and since then her landmark show has been «The Forever Now: Contemporary Painting in an Atemporal World,» the 2014 conversation - starter billed as the first contemporary painting survey at the institution in some 30 years, featuring 17 contemporary abstract painters — including Mark Grotjahn, Kerstin Brätsch, and Mary Weatherford — who notably remix the techniques of painters from previopainting and sculpture department, and since then her landmark show has been «The Forever Now: Contemporary Painting in an Atemporal World,» the 2014 conversation - starter billed as the first contemporary painting survey at the institution in some 30 years, featuring 17 contemporary abstract painters — including Mark Grotjahn, Kerstin Brätsch, and Mary Weatherford — who notably remix the techniques of painters from previoPainting in an Atemporal World,» the 2014 conversation - starter billed as the first contemporary painting survey at the institution in some 30 years, featuring 17 contemporary abstract painters — including Mark Grotjahn, Kerstin Brätsch, and Mary Weatherford — who notably remix the techniques of painters from previopainting survey at the institution in some 30 years, featuring 17 contemporary abstract painters — including Mark Grotjahn, Kerstin Brätsch, and Mary Weatherford — who notably remix the techniques of painters from previous eras.

Looking at painters who came to prominence in the 1960s,»70s and»80s, this book shows how abstract painting has developed in the wake of postwar movements such as Art Informel.

The other version came in March at the Whitney Biennial, as a likeness of Emmett Till in his coffin was included in a series of abstract paintings by the white painter Dana Schutz.

When dealing with an artist as subtle as Arturo Herrera, the manner of interpretation is by nature complex, further complicated by what at first seems like wildly varied and distinct bodies of work, each adopting the formal affectations of the medium at hand: architectural interventions, collage, abstract paintings, biomorphic abstractions, hybrid paintings, photography, sculpture, mail art.

The result is a creative experience that viewers themselves undergo as they look at an abstract painting.

As with Jutta Koether's paintings and abstract photography by Eileen Quinlan at Campoli Presti, it shares a sensibility with the Whitney Biennial.

At one point as I tried to get more information about a floor sculpture that resampled broken glass, and a set of blue paintings with some subtle white abstract elements on them, the gallery director couldn't even tell me about the work.

In 1974, in reference to a New York gallery show by Judy Rifka, Jeremy Gilbert - Rolfe wrote that the artist addressed «the question most crucial to painting in general at the present time: the question as to how far the — currently compromised — abstract «depth» of pictorial space can be newly considered — retrieved — through attention to the material basis of the conventions on which that experience of «depth» relies.»

Arranged thematically, the exhibition looks at her surrealist paintings of the 1930s and the abstract works of the 60s, as well as her anti-war cartoons.

As someone whose job is at least in part to make these distinctions, how can you tell the difference between a genuinely good abstract painting versus, as you say, something that is very salable — something that simply looks like an abstract paintinAs someone whose job is at least in part to make these distinctions, how can you tell the difference between a genuinely good abstract painting versus, as you say, something that is very salable — something that simply looks like an abstract paintinas you say, something that is very salable — something that simply looks like an abstract painting?

As an emerging Abstract Expressionist painter, Melinda happily acknowledges that abstract painting was in her blood long before she studied at the School of Visual Arts in New York City under Frank Roth.

Architectural subjects, including paintings of the weathered barns and buildings on the Stieglitz property that blend the descriptive and the abstract, emerged as a theme, as did a number of panoramic landscape paintings and bold, color ‑ filled abstractions that often visually related to the subjects she was working on at the time.

But like Elmer Bischoff and David Park, with whom he made the turn to figurative painting a few years later, Diebenkorn was asking questions that abstract expressionism couldn't always answer, even though, as the early works in the show at the Royal Academy (until 7 June) suggest, he was a loyal and talented disciple: the LA Times described him as «one of the most gifted artists in the American non-objective field».

It was also in New York that Thompson quickly arrived at his mature style, taking Dody Müller's advice to heart by reworking the compositions of European Masters such as Piero della Francesca, Nicolas Poussin, and Jacopo Tintoretto into simplified, abstracted forms painted in threatening and seductive tones that were hot and violent or deep and dark — seizing on the dynamism of these classical scenes and often transforming them into contemporary allegorical nightmares.

She currently has work in a group show at A.I.R. Gallery in Brooklyn called Another Gesture / Um Outro Gesto / Eine weitere Geste /, which «moves away from the dominant male legacy of abstract expressionism, in which gesture was used to champion the uniqueness of painting as a medium.»

Among the second group of abstract paintings at Firestone are works such as «Thunderbird» (1970), where a geometric cluster of blue lines, each about the width of standard masking tape, floats on a vibrant, flat red field.

As our eyes wander about in one of her paintings, we become aware of the breadth and depth of Bates» vision, and of her bold attempt at designing a new, non-art-historical, abstract painting.

At a time when the world is increasingly abstract, Borremans submits his paintings as evidence that this particular form of painterly expression retains its validity.

Art in America: Robert Baribeau 1980 - NOW, Reviewed by David Ebony This recent show of Robert Baribeau's colorful, richly textured abstract compositions at first appeared as an amalgam of postwar painting styles.

The works on view at the exhibition evokes conversations between abstract forms and a variety of human or animal protagonists, as locations strike up to have a conversation with the people, recognizable images chat with paint smears while looping gestures address spectators within his imageries.

Coming of age artistically at a time when painting, especially abstract painting, was said to be dead, his early art employs impassive frontal images like Jasper Johns and incorporates words like did Bill Beckley, Robert Indiana, and Richard Prince at the same time as Wool.

«As an advocate for all artists, I believe women have been and are currently trendsetters in contemporary abstract painting,» said Jaime DeSimone, assistant curator of exhibitions at MOCA.

Many times, I will start a painting in a realistic way, and gradually it becomes more abstract as I go along — for me, it's a matter of leaving reality behind at a certain point and letting the painting tell me what it needs to do next.

The paintings were well received by the public at large, and it was the artist Wassily Kandinsky, after seeing the paintings in an exhibition in Moscow in 1895, that suggested this series as the first abstract painting in history.

Jasper Johns (born 1930) made his major breakthrough as a painter in the mid-1950s when he started using iconic, popular images in his paintings — an explosive move at a moment when advanced painting was understood to be exclusively abstract.

Moving from art - school grad to accomplished young artist - his shows include Kavi Gupta gallery, Chicago's Museum of Contemporary Art, a recent attention grabbing appearance at Art Basel Miami Beach as well as an upcoming solo at New York's Lehmann Maupin Gallery - Otero quickly became a virtuoso of the newfangled mash up of abstract and figurative painting that constitutes today's new Nouveau Realisme (think Mark Bradford sans the racial essentialism).

After moving to Los Angeles in 1977, she continued her studies in drawing, printmaking and photo etching at UCLA as well as figurative and non-objective abstract expressionist painting at the Brentwood Art Center.

As a sign of the times, those new paintings have taken a brutal turn — they're at once more abstract and more clearly violent, even political, showing little black girls defaced or wielding handguns, occasionally shooting each other dead.

At the Hole's booth, the gallery had installed several abstract paintings that the street artist known as Katsu had created by attaching a paint applicator to a small computer - guided drone, with the artist able to control its flight and spray paint on the canvas via a trigger.

Bradford's monumental painting My Grandmother Felt the Color, 2016, is currently on view at the BMA in a gallery dedicated to social abstraction, alongside other artists who have turned to abstract imagery to convey the humanity, complexity, and ongoing impact of specific cultural experiences, such as Jack Whitten and Ross Bleckner.

Focusing its energies on the mounting of exhibitions onsite and off - space, and on the publishing of artist books, La Salle de Bains is working towards new exhibition formats and methods of mediation, such as the 2012 show Tell the Children / Abstraction pour Enfants (an echo of Andy Warhol's Painting for Children Pop art show at Galerie Bruno Bischofberger, Zürich, in 1983), which introduced children (and adults) to very contemporary abstract paintings by artists including Claudia Comte, Lisa Beck and Olivier Mosset — all hung at children's eye height, on vividly patterned wallpaper.

in Art News, vol.81, no. 1, January 1982 (review of John Moores Liverpool Exhibition), The Observer, 12 December 1982; «English Expressionism» (review of exhibition at Warwick Arts Trust) in The Observer, 13 May 1984; «Landscapes of the mind» in The Observer, 24 April 1995 Finch, Liz, «Painting is the head, hand and the heart», John Hoyland talks to Liz Finch, Ritz Newspaper Supplement: Inside Art, June 1984 Findlater, Richard, «A Briton's Contemporary Clusters Show a Touch of American Influence» in Detroit Free Press, 27 October 1974 Forge, Andrew, «Andrew Forge Looks at Paintings of Hoyland» in The Listener, July 1971 Fraser, Alison, «Solid areas of hot colour» in The Australian, 19 February 1980 Freke, David, «Massaging the Medium» in Arts Alive Merseyside, December 1982 Fuller, Peter, «Hoyland at the Serpentine» in Art Monthly, no. 31 Garras, Stephen, «Sketches for a Finished Work» in The Independent, 22 October 1986 Gosling, Nigel, «Visions off Bond Street» in The Observer, 17 May 1970 Graham - Dixon, Andrew, «Canvassing the abstract voters» in The Independent, 7 February 1987; «John Hoyland» in The Independent, 12 February 1987 Griffiths, John, «John Hoyland: Paintings 1967 - 1979» in The Tablet, 20 October 1979 Hall, Charles, «The Mastery of Living Colour» in The Times, 4 October 1995 Harrison, Charles, «Two by Two they Went into the Ark» in Art Monthly, November 1977 Hatton, Brian, «The John Moores at the Walker Art Gallery, Liverpool» in Artscribe, no. 38, December 1982 Heywood, Irene, «John Hoyland» in Montreal Gazette, 7 February 1970 Hilton, Tim, «Hoyland's tale of Hofmann» in The Guardian, 5 March 1988 Hoyland, John, «Painting 1979: A Crisis of Function» in London Magazine, April / May 1979; «Framing Words» in Evening Standard, 7 December 1989; «The Famous Grouse» in Arts Review, October 1995 Januszcak, Waldemar, «Felt through the Eye» in The Guardian, 16 October 1979; «Last Chance» in The Guardian, 18 May 1983; «Painter nets # 25,000 art prize» in The Guardian, 11 February 1987; «The Circles of Celebration» in The Guardian, 19 February 1987 Kennedy, R.C., «London Letter» in Art International, Lugano, 20 October 1971 Kent, Sarah, «The Modernist Despot Refuses to Die» in Time Out, 19 - 25, October 1979 Key, Philip, «This Way Up and It's Art; Key Previews the John Moores Exhibition» in Post, 25 November 1982 Kramer, Hilton, «Art: Vitality in the Pictorial Structure» in New York Times, 10 October 1970 Lehmann, Harry, «Hoyland Abstractions Boldly Pleasing As Ever» in Montreal Star, 30 March 1978 Lucie - Smith, Edward, «John Hoyland» in Sunday Times, 7 May 1970; «Waiting for the click...» in Evening Standard, 3 October 1979 Lynton, Norbert, «Hoyland», in The Guardian, [month] 1967 MacKenzie, Andrew, «A Colourful Champion of the Abstract» in Morning Telegraph, Sheffield, 9 October 1979 Mackenzie, Andrew, «Let's recognise city artist» in Morning Telegraph, Sheffield, 18 September 1978 Makin, Jeffrey, «Colour... it's the European Flair» in The Sun, 30 April 1980 Maloon, Terence, «Nothing succeeds like excess» in Time Out, September 1978 Marle, Judy, «Histories Unfolding» in The Guardian, May 1971 Martin, Barry, «John Hoyland and John Edwards» in Studio International, May / June 1975 McCullach, Alan, «Seeing it in Context» in The Herald, 22 May 1980 McEwen, John, «Hoyland and Law» in The Spectator, 15 November 1975; «Momentum» in The Spectator, 23 October 1976; «John Hoyland in mid-career» in Arts Canada, April 1977; «Abstraction» in The Spectator, 23 September 1978; «4 British Artists» in Artforum, March 1979; «Undercurrents» in The Spectator, 24 October 1981; «Flying Colours» in The Spectator, 4 December 1982; «John Hoyland, new paintings» in The Spectator, 21 May 1983; «The golden age of junk art: John McEwen on Christmas Exhibitions» in Sunday Times, 18 December 1984; «Britain's Best and Brightest» in Art in America, July 1987; «Landscapes of the Mind» in The Independent Magazine, 16 June 1990; «The Master Manipulator of Paint» in Sunday Telegraph, 1 October 1995; «Cool dude struts with his holster full of colours» in The Sunday Telegraph, 10 October 1999 McGrath, Sandra, «Hangovers and Gunfighters» in The Australian, 19 February 1980 McManus, Irene, «John Moores Competition» in The Guardian, 8 December 1982 Morris, Ann, «The Experts»Paintings of Hoyland» in The Listener, July 1971 Fraser, Alison, «Solid areas of hot colour» in The Australian, 19 February 1980 Freke, David, «Massaging the Medium» in Arts Alive Merseyside, December 1982 Fuller, Peter, «Hoyland at the Serpentine» in Art Monthly, no. 31 Garras, Stephen, «Sketches for a Finished Work» in The Independent, 22 October 1986 Gosling, Nigel, «Visions off Bond Street» in The Observer, 17 May 1970 Graham - Dixon, Andrew, «Canvassing the abstract voters» in The Independent, 7 February 1987; «John Hoyland» in The Independent, 12 February 1987 Griffiths, John, «John Hoyland: Paintings 1967 - 1979» in The Tablet, 20 October 1979 Hall, Charles, «The Mastery of Living Colour» in The Times, 4 October 1995 Harrison, Charles, «Two by Two they Went into the Ark» in Art Monthly, November 1977 Hatton, Brian, «The John Moores at the Walker Art Gallery, Liverpool» in Artscribe, no. 38, December 1982 Heywood, Irene, «John Hoyland» in Montreal Gazette, 7 February 1970 Hilton, Tim, «Hoyland's tale of Hofmann» in The Guardian, 5 March 1988 Hoyland, John, «Painting 1979: A Crisis of Function» in London Magazine, April / May 1979; «Framing Words» in Evening Standard, 7 December 1989; «The Famous Grouse» in Arts Review, October 1995 Januszcak, Waldemar, «Felt through the Eye» in The Guardian, 16 October 1979; «Last Chance» in The Guardian, 18 May 1983; «Painter nets # 25,000 art prize» in The Guardian, 11 February 1987; «The Circles of Celebration» in The Guardian, 19 February 1987 Kennedy, R.C., «London Letter» in Art International, Lugano, 20 October 1971 Kent, Sarah, «The Modernist Despot Refuses to Die» in Time Out, 19 - 25, October 1979 Key, Philip, «This Way Up and It's Art; Key Previews the John Moores Exhibition» in Post, 25 November 1982 Kramer, Hilton, «Art: Vitality in the Pictorial Structure» in New York Times, 10 October 1970 Lehmann, Harry, «Hoyland Abstractions Boldly Pleasing As Ever» in Montreal Star, 30 March 1978 Lucie - Smith, Edward, «John Hoyland» in Sunday Times, 7 May 1970; «Waiting for the click...» in Evening Standard, 3 October 1979 Lynton, Norbert, «Hoyland», in The Guardian, [month] 1967 MacKenzie, Andrew, «A Colourful Champion of the Abstract» in Morning Telegraph, Sheffield, 9 October 1979 Mackenzie, Andrew, «Let's recognise city artist» in Morning Telegraph, Sheffield, 18 September 1978 Makin, Jeffrey, «Colour... it's the European Flair» in The Sun, 30 April 1980 Maloon, Terence, «Nothing succeeds like excess» in Time Out, September 1978 Marle, Judy, «Histories Unfolding» in The Guardian, May 1971 Martin, Barry, «John Hoyland and John Edwards» in Studio International, May / June 1975 McCullach, Alan, «Seeing it in Context» in The Herald, 22 May 1980 McEwen, John, «Hoyland and Law» in The Spectator, 15 November 1975; «Momentum» in The Spectator, 23 October 1976; «John Hoyland in mid-career» in Arts Canada, April 1977; «Abstraction» in The Spectator, 23 September 1978; «4 British Artists» in Artforum, March 1979; «Undercurrents» in The Spectator, 24 October 1981; «Flying Colours» in The Spectator, 4 December 1982; «John Hoyland, new paintings» in The Spectator, 21 May 1983; «The golden age of junk art: John McEwen on Christmas Exhibitions» in Sunday Times, 18 December 1984; «Britain's Best and Brightest» in Art in America, July 1987; «Landscapes of the Mind» in The Independent Magazine, 16 June 1990; «The Master Manipulator of Paint» in Sunday Telegraph, 1 October 1995; «Cool dude struts with his holster full of colours» in The Sunday Telegraph, 10 October 1999 McGrath, Sandra, «Hangovers and Gunfighters» in The Australian, 19 February 1980 McManus, Irene, «John Moores Competition» in The Guardian, 8 December 1982 Morris, Ann, «The Experts»Paintings 1967 - 1979» in The Tablet, 20 October 1979 Hall, Charles, «The Mastery of Living Colour» in The Times, 4 October 1995 Harrison, Charles, «Two by Two they Went into the Ark» in Art Monthly, November 1977 Hatton, Brian, «The John Moores at the Walker Art Gallery, Liverpool» in Artscribe, no. 38, December 1982 Heywood, Irene, «John Hoyland» in Montreal Gazette, 7 February 1970 Hilton, Tim, «Hoyland's tale of Hofmann» in The Guardian, 5 March 1988 Hoyland, John, «Painting 1979: A Crisis of Function» in London Magazine, April / May 1979; «Framing Words» in Evening Standard, 7 December 1989; «The Famous Grouse» in Arts Review, October 1995 Januszcak, Waldemar, «Felt through the Eye» in The Guardian, 16 October 1979; «Last Chance» in The Guardian, 18 May 1983; «Painter nets # 25,000 art prize» in The Guardian, 11 February 1987; «The Circles of Celebration» in The Guardian, 19 February 1987 Kennedy, R.C., «London Letter» in Art International, Lugano, 20 October 1971 Kent, Sarah, «The Modernist Despot Refuses to Die» in Time Out, 19 - 25, October 1979 Key, Philip, «This Way Up and It's Art; Key Previews the John Moores Exhibition» in Post, 25 November 1982 Kramer, Hilton, «Art: Vitality in the Pictorial Structure» in New York Times, 10 October 1970 Lehmann, Harry, «Hoyland Abstractions Boldly Pleasing As Ever» in Montreal Star, 30 March 1978 Lucie - Smith, Edward, «John Hoyland» in Sunday Times, 7 May 1970; «Waiting for the click...» in Evening Standard, 3 October 1979 Lynton, Norbert, «Hoyland», in The Guardian, [month] 1967 MacKenzie, Andrew, «A Colourful Champion of the Abstract» in Morning Telegraph, Sheffield, 9 October 1979 Mackenzie, Andrew, «Let's recognise city artist» in Morning Telegraph, Sheffield, 18 September 1978 Makin, Jeffrey, «Colour... it's the European Flair» in The Sun, 30 April 1980 Maloon, Terence, «Nothing succeeds like excess» in Time Out, September 1978 Marle, Judy, «Histories Unfolding» in The Guardian, May 1971 Martin, Barry, «John Hoyland and John Edwards» in Studio International, May / June 1975 McCullach, Alan, «Seeing it in Context» in The Herald, 22 May 1980 McEwen, John, «Hoyland and Law» in The Spectator, 15 November 1975; «Momentum» in The Spectator, 23 October 1976; «John Hoyland in mid-career» in Arts Canada, April 1977; «Abstraction» in The Spectator, 23 September 1978; «4 British Artists» in Artforum, March 1979; «Undercurrents» in The Spectator, 24 October 1981; «Flying Colours» in The Spectator, 4 December 1982; «John Hoyland, new paintings» in The Spectator, 21 May 1983; «The golden age of junk art: John McEwen on Christmas Exhibitions» in Sunday Times, 18 December 1984; «Britain's Best and Brightest» in Art in America, July 1987; «Landscapes of the Mind» in The Independent Magazine, 16 June 1990; «The Master Manipulator of Paint» in Sunday Telegraph, 1 October 1995; «Cool dude struts with his holster full of colours» in The Sunday Telegraph, 10 October 1999 McGrath, Sandra, «Hangovers and Gunfighters» in The Australian, 19 February 1980 McManus, Irene, «John Moores Competition» in The Guardian, 8 December 1982 Morris, Ann, «The Experts»paintings» in The Spectator, 21 May 1983; «The golden age of junk art: John McEwen on Christmas Exhibitions» in Sunday Times, 18 December 1984; «Britain's Best and Brightest» in Art in America, July 1987; «Landscapes of the Mind» in The Independent Magazine, 16 June 1990; «The Master Manipulator of Paint» in Sunday Telegraph, 1 October 1995; «Cool dude struts with his holster full of colours» in The Sunday Telegraph, 10 October 1999 McGrath, Sandra, «Hangovers and Gunfighters» in The Australian, 19 February 1980 McManus, Irene, «John Moores Competition» in The Guardian, 8 December 1982 Morris, Ann, «The Experts» Expert.