Sentences with phrase «essays by the curators as»

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.

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.

The show, which originated at the Yale School of Art, has a keeper of a free gallery guide, and a catalog with solid essays by the curators as well as by Tomashi Jackson, an artist with a solo at Tilton Gallery on the Upper East Side through Dec. 23, and Robert Storr.

Coupled with a catalogue featuring essays by the curators as well as by Thomas Crow, David Joselit, Maria Loh, and Howard Singerman, this show will no doubt attest to the emotional resonance, historical insight, and exceptional taste that have always characterized Levine's work.

Not exact matches

Body and Matter is accompanied by a fully - illustrated exhibition catalogue, Body and Matter: Kazuo Shiraga Satoru Hoshino, featuring poetic writings by both artists as well as original essays by curator Koichi Kawasaki and noted art historian John Rajchman.

A 272 - page catalog with 12 scholarly essays, edited by PAFA's Curator of Modern Art, Robert Cozzolino (who also served as Female Gaze's curator, and worked alongside PAFA President David R. Brigham in making the case that PAFA should be the recipient of Alter's gift) is available through PAFA and at AmazCurator of Modern Art, Robert Cozzolino (who also served as Female Gaze's curator, and worked alongside PAFA President David R. Brigham in making the case that PAFA should be the recipient of Alter's gift) is available through PAFA and at Amazcurator, and worked alongside PAFA President David R. Brigham in making the case that PAFA should be the recipient of Alter's gift) is available through PAFA and at Amazon.com.

Catalogue Carlos Rolón: Outside / In will be accompanied by a catalogue that features essays by NOMA's Curator of Modern and Contemporary Art Katie A. Pfohl, the Perez Art Museum's Curator of Contemporary Art Maria Elena Ortiz, and the Museo de Arte de Ponce's Associate Curator of European Art, Pablo Pérez d'Ors, an interview of Carlos Rolón by NOMA's Andrew W. Mellon Foundation Fellow for Modern and Contemporary Art Allison Young, as well as short essays by artist Theaster Gates and NOMA Curatorial Fellow Lucia Momoh.

A beautiful, fully illustrated catalogue of the exhibition featuring essays by its curators and guest scholars, as well as entries on all the artists in the exhibition, is available now.

Compiled and edited by exhibition curator Jason Andrew, the catalogue also features an essay by the curator; two unpublished interviews with Tworkov and Irving Sandler; a reprint of the 1953 Art News article Tworkov Paints a Picture with essay by Fairfield Porter and photographs by Rudolph Burckhardt; historic photographs and unpublished contact sheets by Robert Rauschenberg of Tworkov at Black Mountain College 1952; as well as illustrated artist chronology.

In a 2010 essay, by curator Lynne Warren accurately refers to Simpson as a «shape - sifter».

In her catalogue essay, Guest Curator Catherine de Zegher, former Director of The Drawing Center in New York City and currently Co-Director of the 18th Biennale of Sydney, writes, «Seen as an open - ended activity, drawing is characterized by a line that is always unfolding, always becoming.»

Solo exhibition as part of Conflict and Collisions: New Contemporary Sculpture Curated by Eleanor Clayton The Hepworth, Wakefield 1 Oct 2014 — 25 Jan. 2015 Read the curator's essay here

The exhibition catalogue includes essays by James Rondeau; Douglas Druick; Mark Pascale, associate curator, prints and drawings, Art Institute of Chicago; Richard Shiff, Effie Marie Cain Regents Chair in Art, University of Texas - Austin; Barbara Rose, noted Johns scholar; and Kelly Keegan, assistant painting conservator, and Kristin Lister, conservator of paintings, Art Institute of Chicago; as well as an interview with the artist by Nan Rosenthal, senior consultant, Department of 19th - Century, Modern, and Contemporary Art, Metropolitan Museum of Art, New York.

It features essays by BMA Senior Curator of Contemporary Art Kristen Hileman; art historian and activist Jonathan David Katz; and critic, curator, and artist Robert Storr; as well as an interview with Waters by artist Wolfgang TiCurator of Contemporary Art Kristen Hileman; art historian and activist Jonathan David Katz; and critic, curator, and artist Robert Storr; as well as an interview with Waters by artist Wolfgang Ticurator, and artist Robert Storr; as well as an interview with Waters by artist Wolfgang Tillmans.

The catalogue includes essays by Katy Siegel and Kelly Baum; as well as contributions from Kwame Anthony Appiah, Professor of Philosophy and Law at New York University; Kellie Jones, Associate Professor of Art History and African American Studies at Columbia University; Courtney J. Martin, Deputy Director and Chief Curator of Dia Art Foundation; and Richard Shiff, University of Texas at Austin's Cain Chair in Art History.

It features ten new essays by curators and historians, as well as interviews with contemporary choreographers — Beth Gill, Maria Hassabi, Rashaun Mitchell and Silas Riener — who address Cunningham's continued influence.

The catalogue includes essays by Whitechapel Gallery Curator Omar Kholeif as well as commissioned texts by Jean Fisher (art critic), Lorenzo Fusi (Artistic Director of the International Contemporary Art Prize), Graziella Parati (Professor at Dartmouth College) and Nikos Papastergiadis (Professor at the University of Melbourne).

Bringing together the ideas behind this unique commission, this book features an illuminating conversation with Kwade about the work, as well as a detailed survey of her practice to date by curator Cameron Foote and new essays by curator Daniel F. Herrmann and anthropologist Debbora Battaglia.

Included in this catalogue are full - colour reproductions of works in the exhibition, as well as an interview with the artist by Franklin Sirmans, Terri and Michael Smooke Department Head and Curator of Contemporary Art at the Los Angeles County Museum of Art, and an essay by Lowery Stokes Sims, Curator Emerita at the Museum of Arts and Design, New York.

The exhibition is accompanied by a catalogue, with essays on the interaction between Gutai and New York artists by guest curator Ming Tiampo, associate professor of art history at Carleton University in Ottawa, and on Jackson Pollock's relationship to the Gutai group by Tetsuya Oshima, curator of the Aichi Prefectural Museum of Art in Japan, as well as a new translation of the Gutai Manifesto by independent scholar Reiko Tomii and a reflection by David Kaplan, a director and Tennessee Williams scholar, on Gutai's influence on Williams» one - act play, The Day on Which a Man Dies.

Critical and historical context is provided in the form of five thoughtful, themed essays, interspersed throughout the book, by Whitechapel Gallery director Iwona Blazwick on the subjects of «The Found Object», «Performance», «Abstraction», «Knowledge» and «Power Structures», which, alongside an introduction by curator Bruce Ferguson and an endorsement by Yoko Ono, add up to an artist's monograph that's as intimate as it is expansive.

Published by the National Gallery of Art in association with Princeton University Press, the accompanying exhibition catalog includes essays by Greenough, Philip Brookman, consulting curator, Andrea Nelson, associate curator of photographs, and Diane Waggoner, curator of 19th - century photographs, all at the National Gallery of Art, Washington, as well as Leslie Ureña, assistant curator of photographs, Smithsonian National Portrait Gallery.

Imperfect Chronology: Arab Art from the Modern to the Contemporary (Works from the Barjeel Collection) includes essays by Whitechapel Gallery Curator Omar Kholeif as well as commissioned texts by Kamal Boullata, Iftikhar Dadi, Rasha Salti, Nada Shabout, Gilane Tawadros, and Edward McDonald - Toone with introductions by Iwona Blazwick and Sultan Sooud Al - Qassemi.

The catalogue includes essays by Jeffrey Grove and Olga Viso, as well as a work by Pulitzer Prize finalist, playwright, and feminist philosopher Susan Griffin and texts by Bill Arning, Director of the Contemporary Arts Museum Houston, and Helen Molesworth, Barbara Lee Chief Curator, ICA, Boston.

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.

This elegantly - designed accompanying catalogue includes complete photography of the commission as well an essay on the work by curator Lydia Yee and new critical writing by Habda Rashid and Douglas Fogle.

In addition, it features essays by the independent curator and writer Jeremy Lewison and the award - winning novelist Claire Messud, as well as a selected chronological biography and illustrated list of works.

Art historian Johanna Burton contributes a substantial essay that analyzes and elucidates all aspects of Minter's work; her text is complemented by a lengthy conversation between Minter and her friend, painter Mary Heilmann, as well as by «Twenty Questions,» a project assembled by Matthew Higgs to which a wide range of artists, curators, friends and others with a unique connection to Minter have contributed.

The book is lavishly illustrated with over ninety paintings and features an illuminating essay by Elisabeth Sussman, Curator at the Whitney Museum of American Art, as well as an interview with the artist by Justin Spring.

Organized by Scott Rothkopf, the museum's deputy director of programs and chief curator, and Jessica Man, a curatorial assistant, the show is accompanied by a catalog of more than 650 pages, which includes a memoir by the artist's mother, Carol Hendrickson, a public health nurse, who lives with her second husband next door to Owens and her family; testimonies about how wonderful Owens is as a person and a painter from a bevy of artists, curators, dealers, and studio assistants; price lists from early exhibitions; essays, including one about Elizabeth Murray by Francine Prose; statements by influential people who were among the first wave to recognize her importance.

The publication features essays by curators Naomi Beckwith and Cesar Garcia, as well as contributions by each of the members of The Propeller Group: Nguyen pens an obituary for the group that pays homage to Vietnamese funereal celebrations, Phunam shares an astrological reading and Lucero creates a travelogue that records the group's recent exploration of Papua New Guinea.

The fully - illustrated catalogue includes poetic writings by both artists as well as original essays by curator Koichi Kawasaki and noted art historian John Rajchman.

It will include an illustrated chronology with commentary as well as essays by Michel Martin, exhibition curator at the Musée national des beaux - arts du Québec, Kenneth Brummel and Yves Michaud, renowned French philosopher and author of many essays on Mitchell and Riopelle.

A fully illustrated catalog with an essay titled Elizabeth Osborne: Art as Experience by author and curator Judith Stein will accompany the exhibition.

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.

The publication includes an introductory essay by Elizabeth Armstrong as well as short entries on each of the Biennial artists by the curators and several additional writers: New York - based art historian Cary Levine, Los Angeles - based independent curator Kristin Chambers, and Jane Simon, Curator of Exhibitions at the Madison Museum of Contemporacurator Kristin Chambers, and Jane Simon, Curator of Exhibitions at the Madison Museum of ContemporaCurator of Exhibitions at the Madison Museum of Contemporary Art.

For the catalog, an essay by PC — G Director & Curator Jamilee Lacy is joined by interviews with both artists conducted by writer and curator Lauren Ross as well as stellar documentation of the exhibition by photographer Scott Curator Jamilee Lacy is joined by interviews with both artists conducted by writer and curator Lauren Ross as well as stellar documentation of the exhibition by photographer Scott curator Lauren Ross as well as stellar documentation of the exhibition by photographer Scott Alario.

To reflect the museum - quality nature of this collection, the «Eyes Wide Open» exhibition and auction are accompanied by a scholarly catalogue, which features texts by curators and critics such as Carolyn Christov - Bakargiev, Hans - Ulrich Obrist and Sarah Whitfield, as well as essays by the collectors.

Martial Raysse: Visages will be complemented by a publication featuring essays by curator and art historian Jane Livingston and sociologist Dr. Eduardo de la Fuente, as well as a specially commissioned poem by Leopoldine Core.

The Artist as Curator: An Anthology, born out of a series of essays originally published in Mousse, surveys seminal examples of such artist - curated exhibitions from the postwar to the present, examined by the world's foremost curators and illustrated with rare documents and illustrations.

It includes essays by the curator Jens Hoffmann, the scholar José Luis Barrios, and the film critic Ernesto Diezmartínez Guzmán as well as information on all the participating artists and their works, extended notes on the classic films selected by the artists, and a special insert featuring a newly commissioned photographic project by Fernando Ortega depicting abandoned or repurposed movie theaters in Mexico City.

It will include a radically dense overview of 20 emerging Polish artists, selected by KAJA PAWEŁEK, the curator of Centre for Contemporary Art Ujazdowski Castle in Warsaw, as well as «an abridged dictionary of Polish art», a visual essay compiled and commented by SEBASTIAN CICHOCKI from the Museum of Modern Art in Warsaw.

As a gratifying collection of new work by a vast range of Chicago - based artists, this exhibition aims to create «a contemporary sense of semiotic flexibility as a whole while allowing for individual experiences,» according to the catalogue essay by curator Britton Bertran, former director of the city's Gallery 40,00As a gratifying collection of new work by a vast range of Chicago - based artists, this exhibition aims to create «a contemporary sense of semiotic flexibility as a whole while allowing for individual experiences,» according to the catalogue essay by curator Britton Bertran, former director of the city's Gallery 40,00as a whole while allowing for individual experiences,» according to the catalogue essay by curator Britton Bertran, former director of the city's Gallery 40,000.

The monograph includes a foreword by Hilary Roberts, the Head Curator of Photography at the Imperial War Museums in Britain as well as an essay by Natalie Zelt, the co-author and co-curator of, War / Photography: Images of Armed Conflict and Its Aftermath.

Latest Projects Mr. Pendleton is finishing up «Black Dada Reader,» a book that incorporates essays by curators, as well as text from W. E. B. Dubois, Felix Gonzalez - Torres and others and will be published this fall by Walther Koenig Books.

Another essay by Mario Codognato (writer and curator at Blain Southern) explores Hirst's role as artist / collector and the influence he continues to have on his contemporaries and younger emerging artists.

Even as arguments against modernism's supposed transcendence of daily life were issued by a host of global players — Hélio Oiticica and the tropicália movement in Brazil, Guy Debord and the Situationist International in France, the Art Workers» Coalition and early land art in the us — many influential curators and critics doubled down, most notably Michael Fried in his 1967 essay «Art and Objecthood», a defence of medium specificity and the priority of immediacy and opticality.

This publication collects a selection of the artist's writings as well as essays and interviews by the curators.

Valiz recently published a study on Rozendaal, with reproductions, prints, as well as essays by art historian Margriet Schavemaker, curator Kodama Kanazawa and others.

The show also features a limited edition catalogue with essays by artists, curators, and guests such as Trenton Doyle Hancock.