Sentences with phrase «color catalogue from»

Barbara Kasten: Stages has culminated in a full - color catalogue from JRP Ringier, in collaboration with the ICA.

MOCA has an archive of full - color catalogues from select exhibitions.

Not exact matches

The looks are some of the best from the Givenchy's catalogue and the color red might not make all the outfits justice, but a fun touch nevertheless.

The company «A Pretty Woman» started in 1994 from printing colored catalogues and arranging meetings of American men and Russian women through their office in Florida.

A Pretty Woman started in 1994 from printing colored catalogues and arranging meetings of American men and Russian women.

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.

This online catalogue documents all of the mosaics in the Getty Museum's collection, presenting their artistry in new color photography as well as the contexts of their discovery and excavation across Rome's expanding empire — from its center in Italy to prov...

CATALOGUES 2016 Marnie Weber, The Day of Forevermore: Synopsis, Script, Storyboard, introduction by Paul Bernard, 96 pages, Museum of Modern and Contemporary Art (MAMCO), Geneva, Switzerland 2015 Unicorn Girl, written by Darcey Steinke, illustrated by Marnie Weber, Spirit Sister Publication 2010 Marnie Weber, The Cinema Show A Film Retrospective and Installations, texts by Yves Aupetitallot, Doug Harvey, and Stephanie Moisdon, artist interview by Mike Kelley, 125 pgs, 73 color ill., Le Magasin Centre National d'Art Contemporain de Grenoble, France 2007 Sing Me A Western Song, text by Annie Buckley, 40 pgs., 24 color ill., Patrick Painter Gallery, Santa Monica, CA 2005 Marnie Weber, From The Dust Room, texts by Julie Joyce, Amy Gerstler, Darcey Steinke, 56 pgs., 37 color ill., Luckman Gallery, California State University, Los Angeles, CA SOLO ALBUM RELEASES 2008 Marnie Weber, Lonely Soundtracks, 1993 — 2008 2005 Songs Forgotten: Selections From Marnie Weber 1989 — 2004 1996 Cry for Happy.

-- ArtForum «The comprehensive book is special because it includes many color reproductions of paintings otherwise seen only in black - and - white (and small) in the artist's catalogue raisonné from 2001.»

The focal point of the catalogue is the painstakingly reproduced color plates of fourteen recent paintings, many of which are depicted several times in various types of light and from multiple angles, allowing the reader to experience the work in a way that is more akin to seeing them in person.

... [while other images] celebrate Africa as a continent in which the geopolitical boundaries imposed by European colonial authorities were completely dissolved... [giving] artists the freedom to... borrow visual icons from any part of the continent... This exhibition has been organized with Pace Primitive, New York, and is accompanied by a fully - illustrated color catalogue with an essay by Dr. Nnamdi Elleh, Assistant Professor of Architecture History and Theory at the University of Cincinnati, Ohio.

2010 Art of The Eighties, Nymphius Projekte, Berlin Re-Seeing the Contemporary: Selected from the Collection, Dallas Museum of Art, Dallas Psychedelic: Optical and Visionary Art Since 1960, San Antonio Museum of Art, TX (catalogue); travelled to Memorial Art Gallery, University of Rochester, NY; Telfair Museum of Art, Savannah, GA Inside, Outside, Upstairs, Downstairs: The Addison Anew, Addison Gallery of American Art, Andover, MA Art of the Eighties, Nymphius Projekte, Berlin Color and Form, Los Angeles County Museum of Art, Los Angeles Once Removed, The Apartment, Athens Masters of Impressionism and Modern Art, Heather James Fine Art, Jackson, WY VaXiNation, Xippas Gallery, Athens Global Art Show, The Columns, Seoul Track and Traces, Galleria in Arco, Turin, Italy Abstract Vision 2010, Art + Art Gallery, Moscow The 80s Revisited: The Bischofberger Collection, Kunsthalle Bielefeld, Bielefeld, Germany (catalogue) Painting Panel Exhibition, in conjunction with the College Art Association Annual Conference, Shane Campbell Gallery, Chicago, IL Personal Structures: Time — Space — Existence, Künstlerhaus Palais Thurn and Taxis BV: BKV, Bregenz, Austria Pictures about Pictures: Discursive Painting from Albers to Zobernig, Daimler Art Collection, Museum Moderner Kunst, Vienna España / America: The Redefined Abstraction, Galeria Max Estrella, Madrid (curated by Demetrio Paparoni)

2003 Painting Lesson, Galleria Cardi & Co., Milan (catalogue) Conversations: Influence and Collaboration in Contemporary Art, Evergreen House, Johns Hopkins University, Baltimore, MD (catalogue) A Notion of Time, Ingrao Gallery, New York Intersection... Art / Design / New Media, Jan Abrams Fine Art, New York Fall Colors: Group Show, Baldwin Gallery, Aspen, CO On the Edge: Contemporary Art from the DaimlerChrysler Collection, The Detroit Institute of Arts, Detroit, MI On: Inaugural Show, Galerie Xippas, Athens Unframed First Look, Lehmann Maupin Gallery, New York The DaimlerChrysler Collection, Museum für Neue Kunst & Medienmuseum, Karlsruhe, Germany The Past of the Present: Selections from the ABN AMRO Collection, Shanghai Art Museum, Shanghai, China; travelled to Singapore Art Museum, Singapore; Pinacoteca do Estado de São Paulo, São Paolo Painting: from Rauschenberg to Murakami, 1964 — 2003, 50th Venice Biennale, Venice (catalogue) American Beauty, McClain Gallery, Houston, TX Recent Screenprints, Maya Stendhal Gallery, New York New York Contemporaries, Maya Stendhal Gallery, New York White on White, Galerie Xippas, Paris

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

A piece by Simon Hantaï is marked as lot 5 in the catalogue, estimated between 2,297,520 — 2,808,080 USD, entitled m.b. 2 (Mariale), is one of only 27 pieces from the Mariale series, in which the artist developed his particular folding technique in various colors.

With multiple layers of paint, color and line, she creates an ambiguous space that affords the viewer an intimacy with her subject matter and both obscures and recalls the pain it evokes («Pietà») In her catalogue essay, Tina Kinsella writes, «Bracha's recent paintings beckon us to reprise the work of mourning, to return to the grounds from which the act of lamentation arrives and to reappraise the particular emotion that the laboring through grief produces... the Pietà always threatens to disclose this excess of sorrow by surfacing the penumbra of future loss that lurks in the heart of the maternal relationship between mother and child.»

Using minimal means — paint straight from the tube, applied meticulously with a palette knife — and a focused selection of colors, Josef Albers's sustained, serial investigation into rhythm, mood, and spatial movement is explored in this lavishly produced catalogue that looks solely at his respective grey and yellow paintings, exploring two distinct color palettes pervasive to his oeuvre.

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.

Kline, the catalogue noted, «is viewed as the master of black and white Abstract Expressionism from the 1950s, using the two colors as counterpoints in his masterful compositions of gestural velocity and collision.

The exhibition, organized by Russell Lord, is accompanied by a catalogue published by Steidl with over 100 color plates from Burtynsky's water series.

Instead, he painted from color reproductions printed in books and catalogues.

CA Spectral Hues, curated by Sharon Bliss, Palo Alto Art Center, Palo Alto, CA Art Market, with Chandra Cerrito Contemporary, San Francisco, CA Building the Art House, curated by Katherine Connell and Emma Spertus, Rosenberg Library, City College of San Francisco, San Francisco, CA Big Idea, curated by Sue Collier, Leslie Ford, Jack McWhorter and JoAnn Rothschild, The Painting Center, New York, NY Along the Lines, Harrington Gallery, curated by Julie Finegan, Pleasanton, CA 2016 Plus +1, Trestle Contemporary Art Gallery, Brooklyn, NY Group show, November - December 2016, Galleri Urbane, Dallas, TX Palette, curated by Kelly Inouye, Theodora Mauro and Lisa Solomon, ampersand international arts, San Francisco, CA Small Works, Trestle Gallery, Brooklyn, NY Art Market, with Chandra Cerrito Contemporary, San Francisco, CA 2015 Therely Bare Redux, Zeitgeist Gallery, Nashville, TN Therely Bare Redux, Clara M Eagle Gallery, University of Tennessee, Murray Territory of Abstraction, Pentimenti Gallery, Philadelphia, PA Out of Storage, Studio 110 Projects, Sausalito, CA Art Market San Francisco, (with Chandra Cerrito Contemporary), San Francisco, CA The Airplane Show, B Sakata Garo, Sacramento, CA 2014 un.bound.ed, curated by Brent Hallard and Don Voisine, Root Division, San Francisco, CA (edition) DOPPLER SHIFT, curated by Mary Birmingham, Visual Arts Center, Summit, NJ (catalogue) The Intuitionists, curated by Heather Hart, Steffani Jemison & Jina Valentine, The Drawing Center, New York, NY (catalogue) First / Last, curated by Heather Phillips, Park Life, San Francisco, CA 2013 DOPPLER, Parallel Art Space, Brooklyn, NY (catalogue) Generations IX: The Red / Pink Show, A.I.R. Gallery, Brooklyn, NY Made In Paint: 2012 Artists in Residence, The Sam & Adele Golden Gallery, New Berlin, NY Rituals of Exhibition II, Light Space Project, H Gallery, Chiang Mai, Thailand Rituals of Exhibition, curated by Giles Ryder and Gilbert Hsiao, Don't Be Selfish, Phayao, Thailand POSTE CONCRET II, curated by Richard van der Aa, ParisCONCRET, Paris, FR 2012 Soft Luminosity, curated by Guido Winkler and Iemke van Dijk, IS Projects, Leiden, NL (edition) Art On Paper 2012, The Weatherspoon Museum of Art, Greensboro, NC (brochure) Islands of Order in a Sea of Chaos, curated by Ruth van Veenen, de Vishal, Haarlem, NL Doppler Stop, Amsterdams Grafisch Atelier, Amsterdam, NL (catalogue) Doppler Stop, Kunst & Complex, Rotterdam, NL Doppler Stop, Fluctuating Images / General Public, Berlin, DE Doppler Stop, trenutak.39 / Museum of Contemporary Art, Zagreb, HR Trade - O - Mat, curated by Kathryn Kenworth, Kala Art Institute, Berkeley, CA 2011 A Romance of Many Dimensions, curated by Brent Hallard, Brooklyn Artists Gym, Brooklyn, NY POSTE CONCRET I, curated by Richard van der Aa, ParisCONCRET, Paris, FR BYO, IS Projects, Leiden, NL Stop & Go Rides Again, touring exhibition curated by Sarah Klein, Z Space, San Francisco, US; Kunst & Complex, Rotterdam, NL; Fluctuating Images / General Public, Berlin, DE; Fluctuating Images / Interventionstraum, Stuttgart, DE An Exchange with Sol Lewitt, Massachussetts Museum of Contemporary Art, North Adams, MA (catalogue) ReTrace, Cesar Chavez Art Gallery, San Francisco State University, San Francisco, CA 2010 TOUCH, curated by Brent Hallard, ParisCONCRET, Paris, FR (catalogue) Factor XX, curated by Jenny Balisle, Los Gatos Museum, Los Gatos, CA (catalogue) The Rule of Typical Things, Gregory Lind Gallery, San Francisco, CA 2009 TRANS: form color, Meridian Gallery, San Francisco, CA (catalogue) TRANSformal, Pharmaka, Los Angeles, CA (brochure) The Grid, curated by JT Kirkland, MP5, Portland, OR 2008 Calculated Color, curated by Jane Lincoln, Higgins Art Gallery, Cape Cod, MA (brochure) The Space Between, curated by Cathy Kimbell, San Jose Institute of Contemporary Art, San Jose, CA (brochure) Close Calls, Headlands Center for the Arts, Sausalito, CA (also 2005, 2004) TOUCH, curated by Brent Hallard, Busdori, Tokyo, Japan Out of the Fog: Artists from Headlands Center for the Arts, curated by Dianne Romaine and Holly Blake, Art works Downtown, San Rafael, CA 2007 TRANS: Abstraktion, Weltraum, Munich, DE (brochure) 7 - 07 Hung Liu curates 7 Women Artists in the year of the Pig, b.Sakata Garo, Sacramento, CA (brochure) Bay Area Currents, The Oakland Art Gallery, Oakland, CA Visual Noise, UMC Gallery, University of Colorado, Boulder, CO The Unknown Quantity, Gregory Lind Gallery, San Francisco, CA Systems & Transmutations, Root Division, San Francisco, CA (catalogue) Still, Contemporary Quarterly, curated by Chandra Cerrito, www.ContemporaryQuarterly.com (brochure) 2006 Suitcase: Bus - Dori, curated by Brent Hallard, Tokyo, JP Summertime, Judy Saslow Gallery, Chicago, IL microcosm, curated by Victoria Wagner, Richmond Art Center, Richmond, CA (brochure) Sketch, The Memorial Union Gallery, University of California at Davis, Davis, CA 2005 Contemporary Perspectives, Museum of Contemporary Art, Santa Rosa, CA 2004 and now they arcolor, Meridian Gallery, San Francisco, CA (catalogue) TRANSformal, Pharmaka, Los Angeles, CA (brochure) The Grid, curated by JT Kirkland, MP5, Portland, OR 2008 Calculated Color, curated by Jane Lincoln, Higgins Art Gallery, Cape Cod, MA (brochure) The Space Between, curated by Cathy Kimbell, San Jose Institute of Contemporary Art, San Jose, CA (brochure) Close Calls, Headlands Center for the Arts, Sausalito, CA (also 2005, 2004) TOUCH, curated by Brent Hallard, Busdori, Tokyo, Japan Out of the Fog: Artists from Headlands Center for the Arts, curated by Dianne Romaine and Holly Blake, Art works Downtown, San Rafael, CA 2007 TRANS: Abstraktion, Weltraum, Munich, DE (brochure) 7 - 07 Hung Liu curates 7 Women Artists in the year of the Pig, b.Sakata Garo, Sacramento, CA (brochure) Bay Area Currents, The Oakland Art Gallery, Oakland, CA Visual Noise, UMC Gallery, University of Colorado, Boulder, CO The Unknown Quantity, Gregory Lind Gallery, San Francisco, CA Systems & Transmutations, Root Division, San Francisco, CA (catalogue) Still, Contemporary Quarterly, curated by Chandra Cerrito, www.ContemporaryQuarterly.com (brochure) 2006 Suitcase: Bus - Dori, curated by Brent Hallard, Tokyo, JP Summertime, Judy Saslow Gallery, Chicago, IL microcosm, curated by Victoria Wagner, Richmond Art Center, Richmond, CA (brochure) Sketch, The Memorial Union Gallery, University of California at Davis, Davis, CA 2005 Contemporary Perspectives, Museum of Contemporary Art, Santa Rosa, CA 2004 and now they arColor, curated by Jane Lincoln, Higgins Art Gallery, Cape Cod, MA (brochure) The Space Between, curated by Cathy Kimbell, San Jose Institute of Contemporary Art, San Jose, CA (brochure) Close Calls, Headlands Center for the Arts, Sausalito, CA (also 2005, 2004) TOUCH, curated by Brent Hallard, Busdori, Tokyo, Japan Out of the Fog: Artists from Headlands Center for the Arts, curated by Dianne Romaine and Holly Blake, Art works Downtown, San Rafael, CA 2007 TRANS: Abstraktion, Weltraum, Munich, DE (brochure) 7 - 07 Hung Liu curates 7 Women Artists in the year of the Pig, b.Sakata Garo, Sacramento, CA (brochure) Bay Area Currents, The Oakland Art Gallery, Oakland, CA Visual Noise, UMC Gallery, University of Colorado, Boulder, CO The Unknown Quantity, Gregory Lind Gallery, San Francisco, CA Systems & Transmutations, Root Division, San Francisco, CA (catalogue) Still, Contemporary Quarterly, curated by Chandra Cerrito, www.ContemporaryQuarterly.com (brochure) 2006 Suitcase: Bus - Dori, curated by Brent Hallard, Tokyo, JP Summertime, Judy Saslow Gallery, Chicago, IL microcosm, curated by Victoria Wagner, Richmond Art Center, Richmond, CA (brochure) Sketch, The Memorial Union Gallery, University of California at Davis, Davis, CA 2005 Contemporary Perspectives, Museum of Contemporary Art, Santa Rosa, CA 2004 and now they aren't.

Guest curated by Isabel Schulz, co-editor of the Kurt Schwitters catalogue raisonné and curator of the Kurt Schwitters Archive at the Sprengel Museum Hannover, in collaboration with Menil Director Josef Helfenstein, Color and Collage will present key works from American and European museums and private collections.

Issued by Hirmer Publishers, the catalogue presents exciting new scholarship that examines the concept of the sublime from the 19th century to the present, and includes full - color reproductions of all 68 works exhibited at the Hall Art Foundation's facility in Reading, Vermont, in addition to several installation views.

Sponsorship: Storied Past: Four Centuries of French Drawings from the Blanton Museum of Art and its accompanying full - color catalogue were organized by the Blanton Museum of Art at The University of Texas at Austin.

Scores of scholars, curators, and critics have published copiously illustrated books and exhibition catalogues devoted to retrospective looks at the French artist's five - decade - long career, as well as his use of color, textiles, and ornament, his portraits and still lifes, his penchant for making two versions of the same subject from time to time, his visits to Morocco, the Nice period of the 1920s, his late cutouts, the chapel in Vence, France, and even his collectors.

4 - color lithograph on Rives BFK paper 21 1/2 x 17 inches Edition of 62 signed and dated in pencil, numbered from the edition of 62 Literature Edward Foster, Robert Rauschenberg: Prints 1948/1970, Minneapolis Institute of Arts, Catalogue Number 52.

Nude on Couch, from Nudes series Color iris print on rag paper 29 1/2 x 23 1/2 inches 10 1/4 x 13 inches (image size) Edition of 50 Hand signed and numbered in pencil by Thomas Ruff verso Pristine condition unframed, never framed, hinged or matted Literature Matthias Winzen, Thomas Ruff Photography 1979 to the Present, D.A.P., New York, 2003, p. 239 Catalogue Reference tos03, larger version reproduced in cColor iris print on rag paper 29 1/2 x 23 1/2 inches 10 1/4 x 13 inches (image size) Edition of 50 Hand signed and numbered in pencil by Thomas Ruff verso Pristine condition unframed, never framed, hinged or matted Literature Matthias Winzen, Thomas Ruff Photography 1979 to the Present, D.A.P., New York, 2003, p. 239 Catalogue Reference tos03, larger version reproduced in colorcolor.

In the catalogue essay you talk about the use of color in your erotic images as a way of separating them from the source material that you also created.

Garth Weiser: Paintings, 2008 — 2017 is accompanied by a 128 - page full - color, hardbound exhibition catalogue, which includes texts on the artist from exhibition curator Louis Grachos, Ernest and Sarah Butler Executive Director and CEO of The Contemporary Austin; Heather Pesanti, Senior Curator of The Contemporary Austin; and Charles Wylie, Curator of Photography and New Media at the Santa Barbara Museum of Art.

Traveled to: Galerie Stihl Waiblingen, Germany, February 18 — May 27, 2012 (Catalogue) Chuck Close, Thomas Nozkowski, Fabian Marcaccio and Alex Brown, BravinLee Programs, New York, June 7 — July 28, 2011 Esteban Vicente in America: Collage, Color and Somewhere in Between, Meadows Museum, Southern Methodist University, Dallas, May 15 — July 31, 2011 (Catalogue) Seattle as Collector, Seattle Art Museum, May 11 — October 23, 2011 (Catalogue) America: Now and Here, Leedy Voulkos Art Center, Kansas City, Missouri, May 6 — 28, 2011 Capital Portraits: Treasures from Washington Private Collections, National Portrait Gallery, Washington, D.C., April 8 — September 5, 2011 (Catalogue) Diane von Furstenberg: Journey of a Dress, The Pace Gallery, Beijing, April 3 — May 14, 2011 Hyper Real: Art and America around 1970, Ludwig Forum Aachen, Germany, March 13 — June 19, 2011 (Catalogue)

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.

Amplifying the voices in this exhibition is a 190 + page color catalogue with detailed images of these objects of resistance, which includes critical essays by Dr. Carolyn Mazloomi, Micol Hebron, Betti - Sue Hertz, Noel Anderson, and Jenny Ustick; as well as photographic documentation from the day as seen through the eyes of the artists and activists who were on the ground, around the country on January 21st, 2017.

Whitney Museum of American Art, New York, 117 Oil and Water Color Originals by Leading American Artists, May 21 — June 18, 1948; exhibition and sale of works from the collection of the War Assets Administration (catalogue).

Kent Williams: Native Bone and Far to Home is a 44 page, full color catalogue accompanying the exhibition in the Van Every / Smith Galleries at Davidson College, on view from November 5 — December 16, 2015.

In her essay for the exhibition catalogue, CPP founder and master printer Kathan Brown, who had a long and fruitful relationship with the artist, states these prints are «the most complex and subtle use of color aquaint that I know of by any artist at any time in history» — a profound statement from one who has dedicated her life to that medium.

«The Following Information» offers black - and - white photographs from two of the artist's earliest series, Blackboards and Card Catalogue (both from the 1990s) alongside recent color photographs of skies and landscapes, appropriated from paperback books.

Judd himself recognized Malevich's primacy in an reprinted essay from the exhibition catalogue: «It's obvious now that the forms and colors in the paintings that Malevich began painting in 1915 are the first instances of form and color.»

We experience this «blurring» in his randomly arranged pre-fabricated Pantone colors, ornamental stones taken from a 1960s Dresden shopping mall and wall text reading, «A short catalogue of things that you think you want...» Rebecca Warren makes vulgar, lumpy plasticine figures that show the influence of Giacometti and R. Crumb alike.

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.

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

Lot 198 Jasper Johns Flag (Moratorium) 1969 Offset color lithograph on wove paper # 77 of 300 Published by the Committee Against the War in Vietnam Edition lower left margin beneath image; signed lower right margin; printed «© Jasper Johns 1969 ″ lower right edge of sheet Image: 17.125 ″ x 26 ″; Sheet: 20.5 ″ x 28.5 ″; Frame: 21.125 ″ x 29.25»; (Image: 43 x 66 cm) Provenance: Leo Castelli Gallery, New York, New York; Private Collection, Beverly Hills, California (acquired directly from the above) Literature: The Prints of Jasper Johns 1960 - 1993: A Catalogue Raisonné.

(George McNeil, Expressionism, Exhibition Catalogue, 1984) Here, the vague form of a seated figure emerges from a pattern of rectangles, and the bright colors and thick layers of paint create a vibrant surface over the entire canvas.

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.

ISBN 978 - 0262521802 [24] As quoted by Daniel Birnbaum in «Pictures Eating Pictures: Notes for Wade Guyton» from Parkett, vol 83, 2008, in reference to the essay by Scott Rothkopf «Modern Pictures» in Wade Guyton, Color, Power and Style, Exhibition Catalogue - Cologne: Walter Koenig, 2007 [25] Christy Wampole, «How to Live Without Irony», The New York Times, November 11, 2012 (first published on the «Opinionator Blog» then reprinted in «The Sunday Review» [26] ibid.

This full - color catalogue embellishes images from the project with essays by curators Michael Rush and Catherine Morris, and renowned critic Irving Sandler.

Rubbish I removed from Sprog 1's cupboard, drawers and shelves yesterday: 4 feathers, 5 colored matchsticks, 2 half deflated balloons, a cookie in the shape of a vampire, 500 little shards of paper, 3 Toys R Us catalogues, 4 plastic bags, 2 egg cartons, 2 cardboard boxes, endless broken craft projects...