Sentences with phrase «color catalogue in»

CATALOGUE Magasin 3 has published a full color catalogue in newspaper format for the exhibition.

He had a solo exhibition with a color catalogue in 2012 at the Nassau County Museum of Art, in Long Island, New York.

Not exact matches

It is by no means clear that this is much of an achievement, especially when «people of color» is now but one category in an endless catalogue of victimizations and entitlements.

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.

Now for all the goodies that are included in this release, included is a 48 - page hardcover book «Harry Potter Catalogue of Artefacts», a 32 - page «Harry Potter Label Collection» booklet, an envelope containing five wonderfully detailed black - and - white Stuart Craig drawings which are printed on heavy - stock cards, concept art color paintings also on heavy - stock cards, a Holocrux locket replica, a weathered blueprint poster of the Hogwarts castle, a large 24 ″ x 36 ″ cloth map of the Hogwarts grounds (pictured below) and, of course, a numbered certificate of authenticity.

No matter what you desire in a paintjob, you'll find it in Chevy's catalogue of colors.

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...

BASIC MARKETING PACKAGE MATERIALS Word Association will write, design and print the following: (25) News Releases A sample cover letter (100) 2 - sided Business Cards (100) bookmarks (50) 2 - sided post cards (5) 11 x 17 full color posters (5) 8 1/2 x 11 full display card (25) promotional book covers with author bio and photo (5) promotional, pre-publication copies of your book will also be included in this package Also available upon special request are price quotes for Additional pre-publication copies of your book Oversized posters and banners Additional quantities of any of the marketing materials Personalized catalogue envelopes Publicity For authors who want to take their marketing activity to the next level, we partner with several public relations firms that can create custom publicity programs and marketing plans designed to bring nationwide attention to the author and book.

Art historian Daniel S. Palmer writes in the show's catalogue essay, «He uses the formal characteristics of the medium — intense color, powdery luminosity, and a rapid, direct process — to materialize the mysterious landscape of his mind and achieve a more complete understanding of himself.»

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.

-- 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 purpose of their protest was stated in the introduction to the catalogue, which described them as «experimenters» and «strongly individualistic» and explained that the purpose of their association was to call attention to American art that was not literal, not representational and preoccupied with local color, and not «contemporary only in the strictly chronological sense.»

2005 «Barnett Newman,» in The Shape of Color, exhibition catalogue (Toronto: Art Gallery of Canada, 2005).

Besides her exhibition catalogues, Smith's writings have appeared in such publications as Revolution in the Making: Abstract Sculpture by Women 1947 - 2016; Helen Frankenthaler: Composing with Color, 1962 - 1963; The Drawings of Do Ho Suh; The Architecture of Bertrand Goldberg; Chicago Makes Modern; Buckminster Fuller: Starting with the Universe; Design Cities; Birth of the Cool; and the 54th Carnegie International.

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.

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.

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-...]

In addition to color plates and illuminating details, the exhibition catalogue includes an essay by Peter Galassi that explores the full range of Wall's artistic and intellectual interests and offers fresh perspectives on one of the most adventurous creative achievements of our time.

It has something of Jennifer Bartlett and Rhapsody in its warm, bright colors and its catalogue of painting, architecture, and remembered pleasures.

J. Livingston and A. Liguori, eds., Richard Diebenkorn: The Catalogue Raisonné, Volume Four, Catalogue Entries 3762 - 5197, New Haven and London, 2016, p. 350, no. 4568 (illustrated in color).

... [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.

A color catalogue will accompany the exhibition with new scholarship by Pellom McDaniels III, Ph.D., Curator of African American Collections in the Stuart A. Rose Manuscript, Archives, and Rare Books Library at Emory University in Atlanta, Georgia.

In the catalogue for his retrospective at the Whitney in 1980, Sanford Schwartz wrote that Hofmann» had a special, immediate potency for Stout because his formulations and analogies — about how colors and shapes must be made to wrestle with, and eventually find peace with, each other — have a musical logic to them.&raquIn the catalogue for his retrospective at the Whitney in 1980, Sanford Schwartz wrote that Hofmann» had a special, immediate potency for Stout because his formulations and analogies — about how colors and shapes must be made to wrestle with, and eventually find peace with, each other — have a musical logic to them.&raquin 1980, Sanford Schwartz wrote that Hofmann» had a special, immediate potency for Stout because his formulations and analogies — about how colors and shapes must be made to wrestle with, and eventually find peace with, each other — have a musical logic to them.»

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.

Although installed on two floors of the Museum, the exhibition definitely has a sense of cohesiveness thanks to the poppy pink color used throughout the installation, which in turn echoes the catalogue design.

Catalogue published in conjunction with the Edition for Artists Space: MATTHEW RITCHIE Sea State One 2001 Four color hand printed, pigminted relief print on Somerset paper.

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)

This catalogue was published in the occasion of the exhibition Eye Contact: Painting and Drawing in American Art and includes 33 color illustrations.

1993 Les Amis des Musées de Verviers: Aspects de la mouvance construite internationale, Fondation Pro Mesures Art International, Verviers, Belgium (catalogue) Yale Collects Yale, Yale University Art Gallery, New Haven, CT Skowhegan 93, Colby College Museum of Art, Waterville, ME (booklet) Building a Collection: The Department of Contemporary Art, Museum of Fine Arts, Boston, MA Artists» Photographs: A Private View, Blum Helman Gallery, New York Live in Your Head, Hochschule für Angewandte Kunst and Galerie Metropol, Vienna (curated by Robert Nickas, catalogue) The Tradition of Geometric Abstraction in American Art 1930 — 1990, Whitney Museum of American Art, New York 15th Anniversary Group Exhibition, Arthur Roger Gallery, New Orleans, LA Drawing the Line Against AIDS, AmFAR Art Against AIDS, Venice Biennale, Venice Looking at Collecting Today, Chateau de Tanlay, Burgundy, France Legend In My Living Room, Rhona Hoffman Gallery, New York I Love You More than My Own Death, Venice Biennale, Venice Italia - America, L'Astrazione Ridefinita, Galleria Nazionale d'Arte Moderna, San Marino, Italy (curated by Demetrio Paparoni, catalogue) New York Painters, Sammlung Goetz, Munich (catalogue) Legend in My Living Room, Rhona Hoffman Gallery, New York Wall Works, Edition Schellmann, Cologne, Germany Works on Paper, Kohn Abrams Gallery, Los Angeles Twenty Years, Daniel Weinberg Gallery, Santa Monica, CA Peter Halley, Todd Levin, Thread Waxing Space, New York (video project) Living with Art: The Collection of Ellyn & Saul Dennison, The Morris Museum, Morris, NJ (catalogue) Color, Pamela Auchincloss Gallery, New York New York on Paper, Galerie Thaddaeus Ropac, Parin Your Head, Hochschule für Angewandte Kunst and Galerie Metropol, Vienna (curated by Robert Nickas, catalogue) The Tradition of Geometric Abstraction in American Art 1930 — 1990, Whitney Museum of American Art, New York 15th Anniversary Group Exhibition, Arthur Roger Gallery, New Orleans, LA Drawing the Line Against AIDS, AmFAR Art Against AIDS, Venice Biennale, Venice Looking at Collecting Today, Chateau de Tanlay, Burgundy, France Legend In My Living Room, Rhona Hoffman Gallery, New York I Love You More than My Own Death, Venice Biennale, Venice Italia - America, L'Astrazione Ridefinita, Galleria Nazionale d'Arte Moderna, San Marino, Italy (curated by Demetrio Paparoni, catalogue) New York Painters, Sammlung Goetz, Munich (catalogue) Legend in My Living Room, Rhona Hoffman Gallery, New York Wall Works, Edition Schellmann, Cologne, Germany Works on Paper, Kohn Abrams Gallery, Los Angeles Twenty Years, Daniel Weinberg Gallery, Santa Monica, CA Peter Halley, Todd Levin, Thread Waxing Space, New York (video project) Living with Art: The Collection of Ellyn & Saul Dennison, The Morris Museum, Morris, NJ (catalogue) Color, Pamela Auchincloss Gallery, New York New York on Paper, Galerie Thaddaeus Ropac, Parin American Art 1930 — 1990, Whitney Museum of American Art, New York 15th Anniversary Group Exhibition, Arthur Roger Gallery, New Orleans, LA Drawing the Line Against AIDS, AmFAR Art Against AIDS, Venice Biennale, Venice Looking at Collecting Today, Chateau de Tanlay, Burgundy, France Legend In My Living Room, Rhona Hoffman Gallery, New York I Love You More than My Own Death, Venice Biennale, Venice Italia - America, L'Astrazione Ridefinita, Galleria Nazionale d'Arte Moderna, San Marino, Italy (curated by Demetrio Paparoni, catalogue) New York Painters, Sammlung Goetz, Munich (catalogue) Legend in My Living Room, Rhona Hoffman Gallery, New York Wall Works, Edition Schellmann, Cologne, Germany Works on Paper, Kohn Abrams Gallery, Los Angeles Twenty Years, Daniel Weinberg Gallery, Santa Monica, CA Peter Halley, Todd Levin, Thread Waxing Space, New York (video project) Living with Art: The Collection of Ellyn & Saul Dennison, The Morris Museum, Morris, NJ (catalogue) Color, Pamela Auchincloss Gallery, New York New York on Paper, Galerie Thaddaeus Ropac, ParIn My Living Room, Rhona Hoffman Gallery, New York I Love You More than My Own Death, Venice Biennale, Venice Italia - America, L'Astrazione Ridefinita, Galleria Nazionale d'Arte Moderna, San Marino, Italy (curated by Demetrio Paparoni, catalogue) New York Painters, Sammlung Goetz, Munich (catalogue) Legend in My Living Room, Rhona Hoffman Gallery, New York Wall Works, Edition Schellmann, Cologne, Germany Works on Paper, Kohn Abrams Gallery, Los Angeles Twenty Years, Daniel Weinberg Gallery, Santa Monica, CA Peter Halley, Todd Levin, Thread Waxing Space, New York (video project) Living with Art: The Collection of Ellyn & Saul Dennison, The Morris Museum, Morris, NJ (catalogue) Color, Pamela Auchincloss Gallery, New York New York on Paper, Galerie Thaddaeus Ropac, Parin My Living Room, Rhona Hoffman Gallery, New York Wall Works, Edition Schellmann, Cologne, Germany Works on Paper, Kohn Abrams Gallery, Los Angeles Twenty Years, Daniel Weinberg Gallery, Santa Monica, CA Peter Halley, Todd Levin, Thread Waxing Space, New York (video project) Living with Art: The Collection of Ellyn & Saul Dennison, The Morris Museum, Morris, NJ (catalogue) Color, Pamela Auchincloss Gallery, New York New York on Paper, Galerie Thaddaeus Ropac, Paris

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)

The 1975 Yoseloff retrospective catalogue listed below is very illuminating on these latter developments, and the color plates (which include images of some of the sculptures) are of higher quality than those in the Stanton book.

The catalogue chronicles Grotjahn's series of Butterfly paintings and drawings, in which he combines varying schemes of one - point perspective and a systematic investigation of color to mesmerizing effect; his penetrating flower and face paintings; and a recent series of «mask» sculptures that extend Grotjahn's idiosyncratic investment in process and ritual in painting into three dimensions.

Laughlin's paintings are in numerous private and public collections, and her paintings have been shown in over 43 competitive exhibitions including 10 solo exhibitions or installations, 11 museum exhibitions, and 6 published color exhibition catalogues.

M. Harrison, ed., Francis Bacon: Catalogue Raisonné, Volume IV 1971 - 92, London, 2016, pp. 1126 - 1127, no. 77 - 03 (illustrated in color).

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.

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.

Future Shock will be accompanied by a 144 - page full - color catalogue documenting the works in the exhibition and the legacy of the ideas of Toffler's vision of the future.

Judd made the edition of 12 extruded aluminum works in 12 anodized colors in 1991, one of a series of three - dimensional works published by Edition Schellmann and documented in the catalogue raisonné Donald Judd: Prints And Works In Editionin 12 anodized colors in 1991, one of a series of three - dimensional works published by Edition Schellmann and documented in the catalogue raisonné Donald Judd: Prints And Works In Editionin 1991, one of a series of three - dimensional works published by Edition Schellmann and documented in the catalogue raisonné Donald Judd: Prints And Works In Editionin the catalogue raisonné Donald Judd: Prints And Works In EditionIn Editions.

Bob Thompson: Meteor in a Black Hat will be accompanied by a fully - illustrated color catalogue with a contribution by Stanley Crouch.

A full - color catalogue accompanies the exhibition, and is available for purchase in the Kemper Museum Shop.

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.&raquIn 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.&raquin 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.

Reading in the catalogue, one isn't surprised to learn that Kline was indifferent to the colors he used in the paintings — it's there to scan in the work.

This catalogue for a traveling exhibition considers the working drawings and spontaneous studies of Josef Albers, beginning with the landscapes and figure studies he created before enrolling at the Bauhaus, to abstractions inspired by archeological sites in Mexico, to color studies for his famous Homage to the Square paintings.

Preston, Stuart, «Chiefly Abstract: New One - Man Exhibitions Exploit Variety», New York Times, 8 April, section 2, p. 9 Art Digest (New York), 15 April volume 25, p. 17 McBride, Henry, «by Henry McBride: Joseph Glasco's Color», Art News (New York), May, volume 50, no. 3, p. 46 Preston, Stuart, «Diversity in Groups: Three of the New Shows Stress Art's Variety», New York Times, 4 November, section 2, p. 9 Porter, Fairfield, «Reviews and Previews», Art News (New York), December, volume 50, no. 8, p. 49 Newcomb, Redford and Allen S. Weller, Exhibition of Contemporary American Painting, catalogue, College of Fine and Applied Arts, University of Illinois, Urbana Rich, Daniel Catton, Annual American Exhibition, catalogue, Art Institute of Chicago

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.