Sentences with phrase «color catalogue featuring»

A 128 - page illustrated color catalogue featuring an introduction by Parrish Art Museum Director Terrie Sultan and essays by Karin Roffman, Deborah Rothschild, and Mimi Thompson.

This exhibition is accompanied by a fully - illustrated color catalogue featuring statements by the seven living artists included in the exhibition: Benny Andrews, John Biggers, Elizabeth Catlett, Eldzier Cortor, Herbert Gentry, Betye Saar and Richard Mayhew.

It is accompanied by a full - color catalogue featuring contributions from key critics and historians as well as from several of the participating artists.

A full color catalogue featuring an interview with collectors Jim and Fran McGlothlin accompanies the exhibition.

Kurt Schwitters: Color and Collage is accompanied by a fully illustrated color catalogue featuring essays by Schulz, along with scholars Leah Dickerman and Gwendolen Webster and a chronology by Menil Assistant Curator Clare Elliott.

John Biggers: My America is accompanied by a fully illustrated color catalogue featuring a foreword by artist Whitfield Lovell, an introduction by Michael Rosenfeld, and a detailed artist chronology.

The current exhibition will be accompanied by a fully illustrated color catalogue featuring a newly transcribed and previously unpublished oral history interview with the artist.

The exhibition will be accompanied by a full - color catalogue featuring a text by Richard Shiff.

Published on the occasion of the exhibition «Judith Brotman & Fraser Taylor: Missed (and Other) Connections» at the Riverside Arts Center, this full - color catalogue features essays on the works of Brotman and Taylor by exhibition curator Karen Azarnia, Scott J Hunter, and Annie Morse.

Not exact matches

To forestall such questions, and distract us from the film's core emptiness, director Paul McGuigan (Gangster No. 1, Wicker Park) and his crew very nearly art - direct everything into the dirt: The wallpaper in ordinary apartment buildings is a catalogue of optical illusions, and one fleeting overhead shot of a parking lot features an array of vehicles so expertly color - coordinated they could be photoshopped into a Kelly - Moore spread.

Accompanying the exhibition is a clothbound catalogue featuring an interview by artist Matt Connors and full - color reproductions of over sixty works.

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.

Richly illustrated with over 150 color plates, the catalogue features essays that touch on key aspects of her practice and historical reception, as well as an extensive annotated chronology that provides an in - depth exploration of the intersection of her life and art.

An accompanying exhibition catalogue, featuring dynamic color plates of the work and scholarly essays by the curators as well as the legendary art historian Barbara Rose, provides the cultural context for Moses's mutational practice.

The four - color illustrated catalogue includes an essay by Natasha Boas, an art historian and independent curator based in Paris and San Francisco, and features a -LSB-...]

The exhibition, Falkenstein's second large - scale solo show at Michael Rosenfeld Gallery, will be accompanied by a fully - illustrated color catalogue, featuring a reprint of an Archives of American Art oral history interview conducted between the artist and Paul Karlstrom in 1995.

Fully illustrated, 76 page exhibition catalogue with 20 color plates and featuring an essay by Dr. David Anfam, Hardcover.

Odyssey is accompanied by a full - color catalogue that features the sculptures made by Whitten over the past 50 years, as well as the Black Monolith series of paintings, and archival photographs.

Everything is going to be alright, Elizabeth Cherry Gallery, curated by Bob Nickas, Tucson, Arizona, USA Fresh: Recent Acquisitions, Albright - Knox Art Gallery, Buffalo, New York, USA Works on Paper From Acconci to Zittel, Victoria Miro Gallery, London, England Next Wave Prints v. 2.0, Elias Fine Art, Allston, Massachusetts, USA New Paintings, Wayne Gonzales, Jacqueline Humphries, Jonathan Lasker, Blake Rayne, Dan Walsh, Kevin Bruk Gallery, Miami, USA 2000 Drawings & Photographs, Matthew Marks Gallery, New York, USA What's So Funny About Color, Elias Fine Art, Boston, USA Glee: Painting Now, The Aldrich Museum of Contemporary Art, Ridgefield, CT Palm Beach Institute of Contemporary Art, Organized by Amy Cappellazzo and Jessica Hough), Florida, USA PICT: Digital Image Painting, Banff Centre for the Arts, curated by Yvonne Force and Carmen Zita) Alberta, Canada Paula Cooper Gallery, New York, with R. Grosvenor, R. Lichtenstein, R. McBride and D. Walsh, Tomio Koyama Gallery, Tokyo, Japan Hex Enduction Hour, Team Gallery, New York, USA (Curated by Bob Nickas)(212), Gary Tatintsian Gallery, New York (Organized by Irena Popiashvili, catalogue with essay by Christine Kim) Bit By Bit: Painting & Digital Culture, Numark Gallery, Washington, USA 1999 Sweet & Sour, Galerie Art & Public, Geneva, Switzerland Digital Sites, Numark Gallery, Washington, USA 1998 Brite Magic, Islip Art Museum, East Islip, New York, USA (Curated by Carolanna Parlatto) 1997 Diamond Dogs, Team Gallery, New York, USA Super Body, Tomio Koyama Gallery, Tokyo, Japan 1996 Face and Figure in Contemporary Art, Museum of Fine Arts, Boston, USA AbFab, Feature, New York, USA Mutate / Loving the New Flesh, Lauren Wittels Gallery, New York, USA (Curated by Michael Cohen) Supastore de Luxe, UP & Co., New York, USA (Curated by Sarah Staton)

C1S — Coated on one side (paper or print) C2S — Coated on two sides (paper or print) CA2M — Centro de Arte Dos de Mayo (Madrid) CAA — College Art Association CalArts — California Institute for the Arts CACT — Thessaloniki Center of Contemporary Art CAFA — China Central Academy of Fine Arts (Beijing) CAPC — Contemporary Art Museum (Bordeaux) C.G.A.C. — Centro Galego de Arte Contemporanea (Santiago de Compostela) CIFO — Cisneros Fontanals Art Foundation (Miami) CIMAN — International Committee for Museums and Collections of Modern Art CMYK — Cyan, magenta, yellow, and key (black), which are the primary printing colors CNAP — Centre National des Arts Plastiques (Paris) CoBrA — Copenhagen (Co), Brussels (Br), and Amsterdam (A), a free - spirited Marxist avant - garde movement lasting from 1948 to 1951 featuring the artists Asger Jorn, Christian Dotremont, and Constant, whose countries of origins make up the group's name CoCA — Centre of Contemporary Art Znaki Czasu (Torun) CPIF — Centre Photographique d'Ile - de-France CPLY — The name American artist William N. Copley went by as a painter CP — Cancellation proof (the proof made after an edition is finished as evidence that the artist has defaced the plate) C - Print — Chromogenic color print CR — Catalogue raisonné CTP — Computer to plate, digital printing process

The exhibition will feature a full - color catalogue published by The Contemporary Austin in conjunction with Radius Books, Santa Fe, New Mexico.

The exhibition is accompanied by an in - depth catalogue featuring full - page color reproductions of all works in the exhibition as well as a detailed chronology, historical photos, reprints of key texts by Jean Dubuffet and Franz Schulze, and new essays by the exhibition curators and Dennis Adrian, Jon Bird, Thomas Dyja, Mark Pascale, and Arlene Shechet.

Fully illustrated, 104 page exhibition catalogue with 36 color plates, and featuring essays by Peter Selz and Jessica Scarlata.

A fully illustrated catalogue accompanies Donald Moffett: The Extravagant Vein, featuring essays by exhibition curator Valerie Cassel Oliver; Bill Arning, Director, Contemporary Arts Museum Houston; Douglas Crimp, Fanny Knapp Allen Professor of Art History at the University of Rochester; and Russell Ferguson, Chair of the Department of Art at the University of California, Los Angeles, as well as color reproductions, the artist's biography, and a bibliography.

Featuring an essay by Isolde Brielmaier, this 96 page, full - color catalogue is available for purchase at the gallery for $ 40 excluding tax.

This exhibition catalogue features entries with full - color illustrations of the works in the exhibition as well as six new essays discussing the artistic, historical, and religious significance of the caves and their sculptures and recent research dedicated to their digital reconstruction.

An accompanying exhibition catalogue, featuring dynamic color plates of the work and scholarly essays by the curators as well as the legendary art historian Barbara Rose, provides the cultural context for Moses's mutational practice.University Art Gallery 712 Arts Plaza Irvine, CA 92697 - 2775 tel. [phone] fax.

This expanded second edition of the catalogue features additional color plates and an updated design.

A full color - catalogue expanding on Barrada's recent film - and - performanceTree Identification for Beginners, featuring texts by Adrienne Edwards, will be published to coincide with the opening of the exhibition.

Fully illustrated, 48 page exhibition catalogue with 9 color plates, featuring a rare 1960s interview with the artist.

Exhibition Catalogue Baya: Woman of Algiers will be accompanied by a four - color illustrated catalogue with an essay by Natasha Boas, an art historian and independent curator based in Paris and San Francisco, and features a contribution by the Egyptian writer and director MenCatalogue Baya: Woman of Algiers will be accompanied by a four - color illustrated catalogue with an essay by Natasha Boas, an art historian and independent curator based in Paris and San Francisco, and features a contribution by the Egyptian writer and director Mencatalogue with an essay by Natasha Boas, an art historian and independent curator based in Paris and San Francisco, and features a contribution by the Egyptian writer and director Menna Ekram.

Fully illustrated, 96 page exhibition catalogue with 35 color plates, featuring an essay by Debra Bricker Balken and an illustrated chronology.

The catalogue, featuring large - scale color reproductions of over thirty paintings, has been published in conjunction with Sprüth Magers, London.

A 160 - page, full - color, hardcover catalogue accompanies the show, featuring newly commissioned essays and expository texts on the artist's production process.

The exhibition will be accompanied by a full - color 45 - page catalogue that will feature essays written by Los Angeles critics Peter Frank and Shana Nys Dambrot.

A variety of prints by famed colorfield artist Helen Frankenthaler includes Solar Imp, a 2001 color screenprint featured on the cover of the auction catalogue ($ 5,000 to $ 8,000).

This 152 page hardcover catalogue features full - color reproductions of the «Gothic Windows» as well as other new works by the artist.

Jennifer Coates All U Can Eat is a 94 page full - color exhibition catalogue featuring images by Jennifer Coates and text by Scott Indrisek, David Humphrey and Jennifer Coates.

20 page, full - color exhibition catalogue featuring 16 paintings from 2014 - 2015 and an essay by Lilly Wei.

Featuring more than 120 black - and - white and color prints, spanning from the 1920s to the 1970s, the show and attendant catalogue will give viewers a chance to revisit the dogged intelligence of a lifetime's hard poetry.

Southern Accent: Seeking the American South in Contemporary Art was a beautiful example of what we do best: organize a groundbreaking contemporary exhibition, publish an accompanying scholarly catalogue, attract diverse audiences with exciting programs, teach a new chapter of art history, feature global artists of color, and invite meaningful dialogue and debate.

The exhibition, Falkenstein's second large - scale solo show at Michael Rosenfeld Gallery, is accompanied by a fully - illustrated color catalogue, featuring a reprint of an Archives of American Art oral history interview conducted between the artist and Paul Karlstrom in 1995.

«Seen and Unseen» will be accompanied by a fully illustrated 130 - page catalogue featuring more than 50 full - color illustrations, highlighting the most important paintings created by the artists over the course of their careers.

This catalogue features more than 400 color illustrations that review the selection presented at Art 41 Basel, listing 275 of the leading galleries from all the continents and more than 2,000 artists represented by them.

This catalogue features more than 300 color illustrations from Art 43 Basel.

This catalogue is the first publication to survey Wachtel's career, and features 40 color plates of works from the 1980s through today, as well as an insightful overview by curator Reto Thuring, an essay by poet and critic Quinn Latimer, and a conversation between Wachtel and curator Johanna Burton.

Marianne Boesky Gallery will be producing a catalogue on the occasion of the exhibition, which will feature full color images of the new works featured in the exhibition and an introductory essay by arts writer Allie Biswas.

Winners received an artist statement and photograph of their work featured in Sculpture magazine; inclusion of their award - winning sculpture works in a color Fall / Winter exhibition catalogue sponsored by the Grounds for Sculpture; and a free one year membership at the ISC.

This catalogue features color reproductions of Hans Grohs works presented alongside the artist's poetry, written in both German and English.

The exhibition is accompanied by a scholarly catalogue, published by The Phillips Collection and Zentrum Paul Klee in association with Prestel, featuring color plates and essays by the curatorial team and outside scholars Katy Siegel, Eugene V. and Clare E. Thaw Endowed Chair in Modern American Art, Stony Brook University, and Elke Seibert, Postdoctoral Research Fellow at the German Center for the History of Art (DFK) in Paris.