Sentences with phrase «color catalogues on»
The Nasher Museum publishes richly illustrated, full - color catalogues on the occasion of exhibitions that originate at the Nasher Museum and travel internationally.
https://nasher.duke.edu/ Not exact matches
What got me started on this idea were several sources including a Chico's catalogue / ad, and a home decorating book focusing on color.
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.
We absolutely love our books, and are on a mission to create a worldwide catalogue of destination - themed coloring books.
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.
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.
The catalogue for the 1986 exhibition at the Los Angeles Contemporary Museum of Art, an amazing collection of color illustrations plus essays on synesthesia, theosophy, alchemy, hermeticism, Zen and more.
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.
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, 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, ParOn 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, ParOn: 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, Paron 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.
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 color catalogue expanding on Barrada's recent film - and - performance Tree Identification for Beginners (2017), with an introduction by Adrienne Edwards, will be published to coincide with the opening of the exhibition.
A full - color catalogue to be co-published with Hatje Cantz Verlag (Ostfildern, Germany) will include an introduction by Steven B. Johnson, best - selling author of Everything Bad is Good for You: How Today's Popular Culture is Actually Making Us Smarter; a foreword by Susan Krane, Oshman executive director of SJMA; and essays by Northrup, Rush, Mark Van Proyen, corresponding editor for Art in America and expert on counterculture, and architectural journalist Sara Hart.
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.
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.
The exhibition is accompanied by a fully illustrated catalogue containing an introduction on the subject of the Surrealists» collecting practices, a scholarly two - part essay on the masks and the Surrealists» engagement with them, color plates with catalogue entries, and ample archival material documenting this rich art - historical narrative.
The catalogue, co-published by The Phillips Collection and Rizzoli International Publications, contains more than 100 color reproductions and in addition to the above - mentioned essays has an essay on Scully's works on paper by Anne L. Strauss, associate curator, Department of 19th - Century, Modern, and Contemporary Art at The Metropolitan Museum of Art, New York.
The 352 - page catalogue, which includes 116 full - page color reproductions of paintings in the show as well as numerous other illustrations and a detailed chronology of the artist's life, has an essay by Carol Mancusi - Ungaro on «Material and Immaterial Surface: the Paintings of Rothko,» and interesting interviews with several artists including Ellsworth Kelly, Brice Marden, Gerhard Richter, Robert Ryman and George Segal.
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.
Catalogue will include full - color plates of many of the works on view; commissioned essays by Allison Glenn and Cameron Shaw.
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.
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.
A 160 - page, full - color, hardcover catalogue accompanies the show, featuring newly commissioned essays and expository texts on the artist's production process.
Oh, there are catalogues, Samadi says, such as the one for the landmark 1965 exhibition «Washington Color Painters» at the Washington Gallery of Modern Art (which put Davis on the map, along with Morris Louis, Kenneth Noland, Howard Mehring, Tom Downing, Donald McCarten and Paul Reed), but no definitive, overarching text on the genre.
He preferred to acknowledge, as curator Renee Butler writes in the show's accompanying catalogue, «the greater influences of poetry, music and physics» to the formal emphasis on color for color's sake.
planographic color lithograph 33 x 42 1/2 inches Edition of 60 Numbered and titled lower left, «Woman in the Sun» Signed and dated lower right, «James Rosenquist 1991» Tyler Graphics Ltd., blind stamp, lower right Workshop number on verso in pencil, lower left: «TR91 - 1068» Published by Tyler Graphics Ltd, Mount Kisco, New York Literature Constance Glenn, James Rosenquist Complete Graphics 1962 - 1992, Rizzoli, NY, Catalogue Number 225.
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).
Life On Mars Gallery has also created a 19 - plate color catalogue of his works, including an essay by art historian Robert C. Morgan to accompany the exhibition.
D. Anfam, Mark Rothko: The Works on Canvas, Catalogue Raisonné, New Haven, 1998, p. 550, no. 693 (illustrated in color).
In his catalogue essay for the exhibition, Bryant recounts visiting Caro's studio in 2010 and studying the colored works on paper together.
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.
Jackson Pollock: Works on Paper, February 1968 - February 1969, no. 47 (1968 exhibition brochure) and pp. 84 - 85, illustrated in color (1969 catalogue).
D. Anfam, Mark Rothko: The Works on Canvas, Catalogue Raisonné, New Haven, 1998, pp. 74 - 75 and 389, no. 506 (illustrated in color and installation view illustrated).
David Anfam, Mark Rothko: The Works on Canvas, Catalogue Raisonné, New Haven and London, 1998, no. 722, illustrated in color p. 575
Set in Franklin Book type and printed on acid - free, 170 - gram Job Parilux paper, each volume of the catalogue has a stitched binding and a cloth cover with silver - colored embossing protected by an embossed slipcase.
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.
«AIDS, A Community in Crisis,» Jamaica Arts Center, Jamaica, NY, 1991 «Language: Body and Dream,» PS 122, New York, NY, 1991 «1991 Biennial Exhibition,» Whitney Museum of American Art, New York, NY, 1991; catalogue «We Interrupt Your Regularly Scheduled Programming,» White Columns, New York, NY, 1991 «Interrogating Identity, Grey Art Gallery and Study Center,» New York, NY 1991; traveled to the Museum of Fine Arts, Boston, MA; Walker Art Center, Minneapolis, MN; Madison Art Center, WI; Center for the Fine Arts, Miami, FL; Allen Memorial Art Museum, Oberlin College, Oberlin, OH; catalogue «Positions of Authority,» Art in General, New York, NY, 1991 «Color Theory,» Amelie A Wallace Gallery, State University of New York at Old Westbury, Old Westbury, NY, 1991 «Text Out of Context,» SoHo Center, New York, NY, 1991 «New Work,» PS 122, New York, NY, 1991 «Spent: Currency, Security and Art on Deposit,» The New Museum of Contemporary Art at Marine Midland Bank, New York, NY, 1991 «Works on Paper,» Selena Art Gallery,» Long Island University, Brooklyn, NY, 1991 «Rutgers National «90: Works on Paper, Stedman Art Gallery,» Camden, NJ, 1991; brochure «Art of Resistance,» El Bohio, New York Public Mirror, Art against Racism, The Clocktower Gallery, New York, NY, 1991
Diane Upright's Morris Louis: The Complete Paintings (1985) is a catalogue raisonné which, along with a full color catalogue, provides an interesting commentary on chronology and technique.
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.
In addition to his publications about technical research of old master paintings, he was a catalogue essayist on artist materials and techniques for the monographic exhibitions Marsden Hartley (2003), Wadsworth Atheneum Museum of Art, and Oscar Bluemner: A Passion For Color (2006), Whitney Museum of American Art, New York.
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.
In the exhibition catalogue, Carolyn Lanchner, retired Curator of Painting and Sculpture at The Museum of Modern Art, writes: Jaffe's manipulation of the visual takes the basics, lines, forms, colors, and allows them every freedom her extraordinary imagination can devise, while vigilantly suppressing any errant tendencies towards tactile effects on a uniformly flat surface without material density -LSB-...] Explaining her procedures, she once described how she holds off as long as possible choosing among the «myriad solutions» that occur to her during the making of a painting.
The 64 - page color catalogue for this exhibition contains scholarly exposition on this theme as well as fuller information about the artists.
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.
(A full color catalogue also includes more biographical material on — and by — Still than has heretofore been published.)