Sentences with phrase «essays for exhibition»
In 2013 she wrote essays for the exhibition catalogues Matt Mullican: Subject Element Sign Frame World (Skira / Rizzoli, New York, 2013) and Orthodoxies Undermined, Great and Mighty Things: Outsider Art from the Jill and Sheldon Bonovitz Collection (Philadelphia Museum of Art, 2013).
https://www.nga.gov/
Darren has published numerous essays for exhibition catalogues and online, and is part of a small team curating the rolling programme of Tate collection displays.
In their essays for the exhibition catalogue — a well - designed pleasure to hold and read — Cooper and Luke advance the case that, to get where he was going, Stella had to absorb and surmount the work of Jasper Johns, a task Stella accomplished with bravado.
Susan joined the MASS MoCA team in 2006 and since then she has commissioned new works for MASS MoCA, and authored essays for exhibition catalogues and books.
She also co-operates the online print and fashion outlet Look Boutique, has written numerous essays for exhibition catalogs, is a regular contributor to Whitehot Magazine, and somehow also finds time to be a dedicated board member of the San Francisco Arts Commission Gallery.
Artist Walead Beshty, who authored the essay for the exhibition's illustrated catalogue, explains, «Just as the ritual object accrues meaning incrementally and over time through a repetitive process of investment and stewardship, DeFeo came to favor producing paintings through a process of slow accumulation in lieu of the explosive and loose gestural compositions that were common at the time.»
The gallery continues, «In his essay for the exhibition catalogue, William Agee describes Hofmann as going against the grain of the artistic canon of the day; «His art was too big, too bold, to be encapsulated in a few years after 1945, the years we generally identify as the heyday of abstract expressionism.»
Text 2018 Ted Stamm Woosters, essay by Alex Bacon, Lisson Gallery, ISBN 978 -0-947830-67-0 2018 From Stasis to Kinesis: The Woosters of Ted Stamm by Robert C. Morgan, Art Critical, April 2018 2018 New York: Ted Stamm at Lisson Gallery by E. Macdonald, Art Observer, April 2018 2017 Ted Stamm: DRM 1980, The Estate of Ted Stamm and Karma, New York, ISBN 978 -1-942607-66-3 2013 Ted Stamm: Marianne Boesky by Robert Pincus - Witten, Artforum, Summer 2013 2013 Ted Stamm: Paintings at Marianne Boesky by Will Heinrich, Observer Culture, April 2013 2013 Revisions: Another Alan Uglow and Ted Stamm's Minimalisms by Saul Ostrow, Art Experience: New York City, 2013 2012 Times Square Show Revisited by Robert Pincus - Witten, Artforum, December 2012, pp 274-275 1997 Painting Advance Stamm 1990 (1989) by Robert C. Morgan, Between Modernism and Conceptual Art, 1997 Published by McFarland & Company, Inc., 1997, ISBN 0 -7864-0332-2 1990 Painting Speed by Tiffany Bell, Art In America, November 1986, pp 140-143 1990 Reconstructivism: Neo Modern Abstraction in the US by Peter Frank, Artspace, March / April 1990 1990 Rekonstructivisims: Neo Moderne Abstraktion in der Vereinigen Staaten by Peter Frank, Kunstforum, January 1990 1986 Ted Stamm Painting Advance 1990, essay by Tiffany Bell, Hillwood Art Gallery, C.W. Post College, curated by Per Haubro Jensen 1985 Constructures: New Perimetries in Abstract Painting by Peter Frank, essay for exhibition Nohra Haime Gallery 1984 Can Small Works Carry It Off by William Zimmer, essay for small works exhibit, Muhlenberg College, pp. 9 - 10.
In her catalogue essay for the exhibition, Keith offers a scholarly investigation into Gaines» work and challenges the notion that African - American artists of the period focused predominantly on figurative expression.
Artists Bryan Hunt, David Salle and Ralph Gibson are included in the painting inspired by group photographs made by Hans Namuth of Jackson Pollock, Willem de Kooning and other artists gathered on a sand dune, according to Phyllis Tuchman, who wrote the essay for the exhibition.
Earlier that summer he wrote a letter to Andrew Forge, then dean of the School of Art and Architecture at Yale, where Jack had been chairman of the Department of Art through the late 60s, as part of a dialogue to help Forge write a catalogue essay for the exhibition.
His essay for the exhibition catalogue essentially served as an elaborate critique to Bochner's position.
It of course helped that Jim had written an essay for an exhibition I did about five years ago, and in it there was a passage about one of my small paintings, which I'd always thought was just so fabulous.
Wei, Lilly; Transparent Facade: From New York to Los Angeles; Otis Gallery, Otis College of Art and Design, essay for exhibition brochure, July 1999
In his catalogue essay for the exhibition he identified a group of painters that he named the School of London.
Notably uninterested in either the cultural or philosophical connotations of colour, Rob Storr, in his essay for the exhibition catalogue that accompanied Herrera's inaugural exhibition of Lisson Gallery's 24th Street location in New York in May 2016, states: «Indeed it strikes me as impossible to disregard the existential aura of these latest compositions.»
She wrote an essay for the exhibition catalogue that accompanied the show.
In the catalogue essay for this exhibition, Lowery Stokes Sims states: «While many collagists draw us into the romance of the object, Grossman's work draws us into the raw violence of the discard, the discharge, the eruption of life and nature and the decay... [Grossman] was «led to collage» by the potential for sensuousness and the idea that «objects are in the world — existing in life and getting away from it at the same time.
Sustained Reality: From Francis Bacon to Paula Rego (2012) Published as the catalogue essay for the exhibition «From Francis Bacon to Paula Rego».
He has published numerous essays on modern and contemporary art, including catalog essays for exhibitions organized by the Whitney Museum of American Art, Carnegie Museum of Art, Japan Society, Fundacion Juan March, Arthur M. Sackler Gallery, and Vitra Design Museum.
Critic Peter Frank begins his essay for the exhibition catalog: «San Francisco is a painting town.»
In her essay for the exhibition, Mix says that art has the ability to reveal our fears and address them, in many cases through laughter.
2012 Seedling Art Space catalogue July 2012: «and so they stood» — artist essay for exhibition of work by artist Liz Butler
2012Mussel Brothers, contribution to the publication Tales from the Crypt - The Ghost Issue Essay for the exhibition catalogue Good Friend
This is an excerpt from «Signs of the Times,» Robert Storr's catalogue essay for the exhibition «Transfigurations: Modern Masters from the Wexner Famly Collection» at the Wexner Center for the Arts through December 31.
In his catalogue essay for the exhibition The Spiritual in Art: Abstract Painting, 1980 — 1985, (1986) at the Los Angeles County Museum of Art, curator Maurice Tuchman proposed that early historical abstraction was generated from five elements of the spiritual, which referred to underlying modes of thought — cosmic imagery, vibration, synesthesia, duality, and sacred geometry.
During the residency, I had the opportunity to work with Alastair Mackinven as my mentor, who also generously contributed a great essay for my exhibition catalogue.
Recent publications include Hopelessness Freezes Time, a study of earthworks, drawing, Detroit, urban warfare, and guerrilla historiography, co-authored with artist Edgar Arceneaux (Kunstmuseum Basel, 2012); «Earth Beneath Detroit,» an essay for the exhibition catalogue Ends of the Earth: Land Art to 1974 (Museum of Contemporary Art, Los Angeles, 2012); «Attitudes and Affects,» on the 1969 exhibition When Attitudes Become Form (CCA Wattis Institute for Contemporary Arts, San Francisco, 2013); and «After the Production of Space» (forthcoming in Critical Landscapes, University of California Press, Berkeley).
I wrote the essay for the exhibition catalog, an intellectually challenging but immensely rewarding experience.
In his catalogue essay for the exhibition, Bryant recounts visiting Caro's studio in 2010 and studying the colored works on paper together.
She also wrote an essay for the exhibition catalogue that accompanied the acclaimed exhibition Caravaggio and His Followers in Rome, which was on view at the Kimbell from October 16, 2011, to January 8, 2012.
His most recent exhibition was the swan song exhibition for the Knoedler Gallery and the catalogue essay for that exhibition was written by the late Arthur Danto.
[7] She has written catalogue essays for exhibitions on Maurizio Cattelan, Luc Tuymans, Douglas Gordon, Tino Sehgal and Anna Gaskell among others.
Essay for the exhibition Two Centuries of Black American Art, March 30 — May 15, 1977 at the Dallas Museum of Fine Arts.
Recently I had the honour of being asked by Hamra Abbas to write a little essay for her exhibition, Kaaba Picture as a Misprint, at Lawrie Shabibi in Dubai.
In his essay for the exhibition catalog, Mr. Kitaj identified a «School of London,» in which he included Francis Bacon, Lucian Freud, Frank Auerbach, Leon Kossoff and himself as central figures.
Gregory Volk, in the essay for an exhibition at the Hammer Museum in 2005, wrote: «The more one spends time with the work... the more psychologically eventful these airplanes are, as they proceed on their inscrutable routes, seemingly at their own volition.
INTERSECTIONS VISITING SCHOLAR MARCO ANTONINI Lecture: Revolution in (Re) Form More Thoughts on Abstract Painting Today Wednesday, November 18 ART Auditorium, ART Building 6:30 - 8:00 pm 6:00 - 6:30 pm Light reception Marco Antonini presents a slide lecture that takes Revolution in (Re) Form: More Thoughts on Abstraction Today, his eponymous essay for the exhibition NEW NEW YORK: Abstract Painting in Continue Reading»
«Geometry Poems» catalogue essay for exhibition Janet Kurnatowski Gallery 2014.
Marco Antonini presents a slide lecture that takes Revolution in (Re) Form: More Thoughts on Abstraction Today, his eponymous essay for the exhibition NEW NEW YORK: Abstract Painting in the 21st Century as a departure point for an informed and timely analysis of recent trends in contemporary abstract painting.
As Jill Weinberg Adams explains in her catalog essay for the exhibition, half the pieces in the show are smallish plein - air panels often used as studies for more expansive studio pictures, some of which are included in the show.
[In his essay for the exhibition catalog, «Face to Face with Archibald J. Motley Jr.,» art historian David C. Driskell recounts visiting Motley in Chicago in 1979 to purchase the paintings on behalf of Bill and Camille Cosby.]
This work presents, as Colin Gardner suggests in his catalogue essay for the exhibition, «A twist on the artist's earlier horizontal, side by side cell and conduit paintings (with their necessary sense of enclosure)».
/ / WRITING / / 2018 The Artist's Book as Third Mind, The Journal of Artist's Books, JAB43, Spring 2018, Essay by Marianne Dages, originally presented at the 2018 College Book Art Association Conference 2015 - 2017, Editor for the Napoleon Gallery Essay Series 2017 Reflect / Collect: An essay on the one's we know (w / Napoleon Gallery) 2016 Three Poems, Bowietry, The Found Poetry Review, Spring On Language and Scale, an essay for the exhibition catalog of Sarah Hulsey's Iterations, Walter Feldman Gallery, Boston, Ma 2015 Marianne Dages: The Form Review, The St. Claire, w / Daniel Oliva
Her most recent projects include catalogue essay for the exhibition Elephant in the Dark at Devi Art Foundation, and article «Postcard from Tehran», for Frieze online.
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 artist has curated and wrote the introductory catalog essay for another exhibition at A.I.R., held two years later, in 1981.
My admiration led to me writing a catalogue essay for an exhibition he did with Peter Doig at the Santa Monica Museum of Contemporary Art, and that led to visiting his studio over several months to research a feature about the creation of his - now famous - painting installation The Upper Room.
He contributed an essay for the exhibition on the topic of Aesthetic Education in China.
She has been an Artist - in - Residence at the Sanskriti Foundation in Delhi, India, Her work has been reviewed in the New York Times, Art Forum, Art in America, Arts, Sculpture Magazine, Zettel, Art and Antiquities, Review Magazine, the Village Voice, New York Magazine, New Yorker, Other Voices, National Public Radio, Yale University Radio, and KDVS - Davis and has been the subject of catalog essays for the exhibitions Case Discussions by Kristin Koster, Multiplying the Variations by Raphael Rubinstein, Emergence and Structure by Jonah Lehrer.