Sentences with phrase «catalogue accompanies the exhibition»
In an illuminating interview with Barbara Takenaga, which is included in the catalogue accompanying her exhibition of New Paintings at DC Moore Gallery (September 5 — October 5, 2013), Robert Kushner makes an observation that goes to the heart of a question that I want to raise about the artist's recent work:
https://hyperallergic.com/
«It as been our passion and profession, my wife and I, to create an exhibition of American Abstraction in Europe since 1986,» Otto Hübner writes in the foreword for the catalogue accompanying the exhibition, «For years I have wanted to crate a museum exhibition with the works by Sam Francis, Adolph Gottlieb, Hans Hofmann, Charles Pollock, Richard Pousette - Dart, David Smith and Jack Tworkov.
(There is an illustrated catalogue accompanying the exhibition, with excellent essays by Nathan Cohen and Laura Davidson and an introduction by Alex Meurice.)
The Baltimore Museum of Art, the presenter of the U.S. Pavilion at the 2017 Venice Biennale along with the Rose Art Museum at Brandeis University, today announced the publication of Tomorrow Is Another Day, the official catalogue accompanying the exhibition of the same name featuring new work by Mark Bradford for the U.S. Pavilion.
188 page hardcover catalogue accompanying the exhibition on view at Acquavella Galleries from February 1 - March 16, 2018.
The hardback catalogue accompanying the exhibition included essays by Gordon Burn and Dr George Poste, Chairman of the US Department of Defense Science Board, on Bioterrorism (Gagosian Gallery / Other Criteria, 2000).
A fully illustrated catalogue accompanying the exhibition was co-published by The Phillips Collection and Yale University Press.
Journalist Ed Bradley noted in the catalogue accompanying the exhibition that to his friends Joyce and George, «collecting art was like collecting knowledge.»
Schnabel was elected an Honorary Royal Academician in 2009; and the catalogue accompanying the exhibition includes an essay by Norman Rosenthal, former Secretary of Exhibitions of the Royal Academy of Arts from 1977 to 2008.
A catalogue accompanies the exhibition: Zarina: Paper Like Skin by Allegra Pesenti, with contributions by Aamin R. Mufti and Sandhini Poddar.
The catalogue accompanying the exhibition included an essay by art critic Richard Shone (Serpentine Gallery, 1994).
A catalogue accompanies the exhibition, featuring contributions by Gustav Metzger, Hans Ulrich Obrist and Jon Savage.
A cloth bound catalogue accompanies the exhibition and features duotone reproductions of the images.
In addition to the catalogues accompanying those exhibitions, she has also published widely on the works of Alberto Giacometti, most recently for the Guggenheim Museum, and is working on a monograph on Giacometti's paintings.
A fully illustrated catalogue accompanies the exhibition, and is available online either through the gallery website or at www.blurb.com.
A fully illustrated catalogue accompanies the exhibition and includes a homage by Patti Smith.
A full - color 136 - page catalogue accompanies the exhibition.
A full - color catalogue accompanies the exhibition, and is available for purchase in the Kemper Museum Shop.
... the catalogue accompanying the exhibition is a lodestone of information about Burri.
A fully illustrated catalogue accompanying the exhibition includes an essay by curator Alexandra Schwartz.
A two - volume illustrated catalogue accompanies the exhibitions and features essays by exhibition curators John Elderfield and Peter Galassi.
A fully illustrated catalogue accompanies the exhibition, which will include an in - depth essay by Dr Katie Hill.
Dieter Schwarz, Director of Museum Winterthur from 1990 — 2017, has contributed a new essay on Ryman's drawings for the full - color catalogue accompanying the exhibition.
-- Excerpt from the interview with Pablo Bronstein by Andrea Bellini published in the catalogue accompanying the exhibition
In 2014, the gallery presented an exhibition of new drawings, Richard Serra: Vertical and Horizontal Reversals, in New York; a catalogue accompanied the exhibition and included an essay by Gordon Hughes.
A catalogue accompanies the exhibition published by David Zwirner Books and Victoria Miro.
In the catalogue accompanying the exhibition, art critic Donald Kuspit writes: «Carol Ross gives us two kinds of sculpture: large, free ‐ standing works, implicitly monumental, sometimes evocative of nature, sometimes figurative, and smaller wall pieces, sculptures as flat as the wall on which they are placed as though they were paintings.
A 64 - page catalogue accompanies the exhibition, concentrating on Baker's British art and including the works acquired since 2005 with the Richard Brown Baker Fund.
A richly illustrated catalogue accompanies the exhibition.
A fully illustrated catalogue accompanying the exhibition was produced, including texts by Eckhard Schneider, Herbert Molderings, John Gray, Gudrun Inboden and Sebastian Egenhofer (Kunsthaus Bregenz, 2009).
The catalogue accompanying the exhibition is made possible by a grant from The Brown Foundation, Inc..
A catalogue accompanies the exhibition with an introductory essay by exhibition curator Carolyn Kastner.
The catalogue accompanying the exhibition at Tate Britain is available at a discounted price of # 16.99 (RRP # 19.99) for Independent readers from 020 7887 8869 or [email protected].
A comprehensive catalogue accompanies the exhibition, featuring essays by the Art Institute's Judith Barter, Field - McCormick Chair of American Art; Ellen Roberts, assistant curator of American art; and other scholars, the volume is available for purchase in the Museum Shop.
A fully illustrated catalogue accompanies this exhibition.
An illustrated catalogue accompanying the exhibition, A Conversation larger than the Universe.
A color catalogue accompanies the exhibition with an essay by Justin Spring.
As Matthew Israel writes in the catalogue accompanying the exhibition, «in a moment where abstract painting has definitely returned to prominence — Held's 1950s paintings seem like they could have been made by a current young abstract painter.
A fully illustrated catalogue accompanies the exhibition, published by De La Warr Pavilion and Ridinghouse, featuring an in - depth interview with Riley by Paul Moorhouse and a biography by Robert Kudielka.
BALTIMORE, MD — The Baltimore Museum of Art, the presenter of the U.S. Pavilion at the 2017 Venice Biennale along with the Rose Art Museum at Brandeis University, today announced the publication of Tomorrow Is Another Day, the official catalogue accompanying the exhibition of the same name featuring new work by Mark Bradford for the U.S. Pavilion.
A fully - illustrated catalogue accompanies the exhibition and includes essays by Enrique Juncosa and American writers Francine Prose, Peter Lamborn Wilson and David Levi Strauss.
A full - color, 147 page catalogue accompanies the exhibition.
* first published in 1970 as Communicacio sobre el mur in Antoni Tàpies, La practica de l'art (Barcelona: Edicions Ariel, Esplugues de Lllobregat), pp. 125 - 30 A fully illustrated colour catalogue accompanies the exhibition.
A 64 - page catalogue accompanies the exhibition, concentrating on Baker's British art and including the works acquired by RISD since 2005 with the Richard Brown Baker Fund for Contemporary British Art.
This catalogue accompanied the exhibition, Exotic Excursions, in which five artists explore the experience of travel through video, installation and photographic works.
A full - color catalogue accompanies the exhibition, including a new text by Oldenburg.
As Matthew Israel writes in the full - color catalogue accompanying the exhibition, «in a moment where abstract painting has definitely returned to prominence — Held's 1950s paintings seem like they could have been made by a current young abstract painter.
An illustrated catalogue accompanies the exhibition which includes an interview with the artist by Rachael Thomas, texts by curator and critic Beatrix Ruf and writer Declan Long, and a foreword by Enrique Juncosa, Director, IMMA.
In the introduction of the catalogue accompanying the exhibition, Kosinski felt compelled to state: «We insist upon Ossorio as artist and refuse to allow his artistic practice to be obscured by his roles as friend, author, patron and collector, though inevitably those activities figure importantly in this story.»
In the catalogue accompanying the exhibition Looking East: Brice Marden, Michael Mazur, Pat Steir at the Boston University Art Gallery (January 18 — February 24, 2002), John Stromberg opens his essay, «Michael Mazur: A Delicate Balance» with this sentence: «Michael Mazur's path to his recent paintings based on Chinese art has been less than linear.»