Sentences with phrase «exhibition catalogue at»

2014 «Shit and Die», Maurizio Cattelan, Myriam Ben Salah, Marta Papini, Published by Damiani, Bologna, ISBN: 9788862084024 «De Generation of Painting», published by Fondazione 107, Turin, 2014 «Il Piedistallo Vuoto / The Empty Pedestal», Mousse, texts by Boris Buden, Keti Chukhrov, Vit Havránek, Marco Scotini and Joanna Warsza, Milan, ISBN: 9788867490691 «of course blue affects my way of shitting», Chert and Motto books, Berlin, ISBN: 978294052418 «Kushtetuta», edited by Petrit Halilaj, Alvaro Urbano, Issue 2, Self - published 2013 «Kosovo Pavilion — Venice Biennale», Walther König, edited by Kathrin Rhomberg & Erzen Shkololli, Cologne, ISBN - 10: 3863355474, ISBN - 13: 978 - 3863355470 «Poisoned by men in need of some love», exhibition catalogue, edited by Elena Filipovic, WIELS and Motto books, ISBN: 978 -2-940524-07-5 «Kushtetuta», edited by Petrit Halilaj, Alvaro Urbano, Issue 1, KOSOVO 2.0 «SUPER Visions — Zeichen und Sein», exhibition catalogue, Museum Schloss Moyland, Verlag für Moderne Kunst, ISBN: 3869844191 2012 «New Public», exhibition catalogue at Museion, Walther König, edited by Rein Wolfs, texts by Federico Campagna, Maria Lind, Rein Wolfs, Cologne, ISBN: 9783863352400 «30 Künstler 30 Räume», exhibition catalogue, Verlag für Moderne Kunst, text by Franz Xaver Baier, Dietrich Mahlow, Angelika Nollert, Nürnberg, ISBN: 978 -3-86984-320-9 2011 Artist's book, published by Kunstraum Innsbruck and Chert, Berlin «Struktur & Organismus», exhibition catalogue, edited by Stefan Tasch, Marillenhof — Destillerie Kausl, Austria «Ostalgia», exhibition catalogue, published by New Museum, New York «Based in Berlin», exhibition catalogue, Verlag der Buchhandlung Walther König, Cologne, ISBN: 9783863350451 «Kostërrc (CH)», brochure, Chert and Bonner Kunstverein, Bonn «My work and me», edited by Susanne Pfeffer, Verlag der Buchhandlung Walther König, Cologne, ISBN: 9783865609052 2010 «Blau Orange 2010 — shortlist Simon Denny, Petrit Halilaj, Klara Liden, Nora Schultz», published by BVR — National Association of German Cooperative Banks «Drinnen & Draussen», exhibition catalogue, Chert and Motto books, Berlin «What is waiting out there», Berlin Biennale 2010, curated by Kathrin Rhomberg, DuMont Buchverlag, Cologne «Liste», fair catalogue, Basel

Catalogues — Publications 2016 «Space Shuttle In The Garden, Petrit Halilaj», exhibition catalogue at HangarBicocca, published by Mousse Publishing, catalogue edited by Roberta Tenconi.

Shaw will also be signing copies of the exhibition catalogue at Metro Pictures the day before.

Members at the Household level and above also receive 20 % off exhibition catalogues at The Museum Shop and reciprocal museum benefits, which may include discounts at participating museums across the U.S. (restrictions apply).

Not exact matches

The books, art catalogues for major exhibitions at the museum, pop out into a clean, fast virtual book reader.

Exhibition Catalogues @Large will be accompanied by two richly illustrated, full - color publications: a hardbound edition available at museum shops and bookstores worldwide and a softcover catalogue sold at Alcatraz Island.

Additional Activities Guests will enjoy two orchid gardens (one on the Colonial side and a different one at the Hotel Kantenah); a number of enticing spaces where you can find tropical plants, trees and exotic catalogued flowers; two flamingo ponds; a crocodile habitat (with regularly scheduled feeding exhibitions); and ecological walks through the expansive grounds among palm groves, jungle areas, swamps and spectacular gardens.

When I reviewed the exhibition «Matisse / Diebenkorn» for ARTnews during its run at the Baltimore Museum of Art (it is currently on view at the San Francisco Museum of Modern Art), I found helpful the overstuffed, unwieldy, four - volume Richard Diebenkorn catalogue raisonné published this past autumn by Yale University Press.

-- when, in the catalogue statement for his private exhibition of 1867, he assures us that it is merely the «sincerity» of his works that gives them their «character of protest,» or when he pretends to be shocked at the hostility with which the public has greeted them.

Below is the online catalogue from the recent exhibition Bernard Chaet: Coastal Memories at LewAllen Galleries, Santa Fe, NM.

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.»

Jock Reynolds, American Abstraction at the Addison, exhibition catalogue (Andover, MA: Addison Gallery of American Art, 1991).

ABOUT THE EXHIBITION Guest curated by Robert Storr, professor and dean of the Yale University School of Art and former senior curator of painting and sculpture at the Museum of Modern Art, the exhibition and an accompanying catalogue will bring fresh perspective to these artists and examine the figurative impulses that conEXHIBITION Guest curated by Robert Storr, professor and dean of the Yale University School of Art and former senior curator of painting and sculpture at the Museum of Modern Art, the exhibition and an accompanying catalogue will bring fresh perspective to these artists and examine the figurative impulses that conexhibition and an accompanying catalogue will bring fresh perspective to these artists and examine the figurative impulses that connect them.

The whereabouts of the painting after the Armory Show is unclear, but in 2005 the work was exhibited in a major Bluemner exhibition that Barbara Haskell organized at the Whitney Museum of American Art in New York, and while the accompanying catalogue indicates that the painting is one of the 1911 — 1912 canvases that Bluemner reworked in 1916 — 1917, it does not identify the earlier painting as the one that was in the Armory Show.

A two volume exhibition catalogue documents both exhibitions and features contributions by Hamza Walker, LAXART Executive Director and former Director of Education and Associate Curator at the Renaissance Society, and Michael Rooks, Wieland Family Curator of Modern and Contemporary Art at the High Museum of Art.

The artist's thirty - fifth exhibition with Pace, New York City, No - Name, Re-do, Seductions will be on view from September 15 to October 21, 2017, at 510 West 25th Street, and an opening reception will be held on Thursday, September 14 from 6 to 8 p.m. Pace will publish a catalogue that includes a new text by Samaras to accompany the exhibition.

Initially conceived to document the artist's 2014 exhibition at David Zwirner in New York — his first with the gallery, debuting new sculptural work, a critically acclaimed video, and a much - discussed animatronic sculpture — the publication ultimately exists as a hybrid between an exhibition catalogue and a stand - alone expression of Wolfson's vision.

From Caspar David Friedrich to Gerhard Richter, German Paintings from Dresden is the catalogue published on the occasion of the eponymous exhibitions at The J. Paul Getty Museum, Los Angeles in 2006

The impressive program of exhibitions at Gagosian Gallery often including loans and illustrated catalogues, as was done for this special event, are first and foremost concerned with supporting the artists they represent.

1998 Selections, Winter 1998, The Drawing Center, New York, NY catalogue Crossings, AT Kearney Corporate Offices, San Francisco, CA At Home and Abroad: Twenty Contemporary Filipino Artists, Asian Art Museum, San Francisco, CA; Contemporary Art Museum, Houston, TX; University of Honolulu, HI; Metropolitan Museum, Manila, Philipines Catalogue SF Babaylan: An Exhibition of Contemporary Art from Eight San Francisco, Bay Area Women Artists, Museo Ng maynil, Manila, Philippines catalogue Landscape and Memory, Haines Gallery, San Francisco, CA Drawings, Haines Gallery, San Francisco, CAcatalogue Crossings, AT Kearney Corporate Offices, San Francisco, CA At Home and Abroad: Twenty Contemporary Filipino Artists, Asian Art Museum, San Francisco, CA; Contemporary Art Museum, Houston, TX; University of Honolulu, HI; Metropolitan Museum, Manila, Philipines Catalogue SF Babaylan: An Exhibition of Contemporary Art from Eight San Francisco, Bay Area Women Artists, Museo Ng maynil, Manila, Philippines catalogue Landscape and Memory, Haines Gallery, San Francisco, CA Drawings, Haines Gallery, San Francisco, CA Sino KAT Kearney Corporate Offices, San Francisco, CA At Home and Abroad: Twenty Contemporary Filipino Artists, Asian Art Museum, San Francisco, CA; Contemporary Art Museum, Houston, TX; University of Honolulu, HI; Metropolitan Museum, Manila, Philipines Catalogue SF Babaylan: An Exhibition of Contemporary Art from Eight San Francisco, Bay Area Women Artists, Museo Ng maynil, Manila, Philippines catalogue Landscape and Memory, Haines Gallery, San Francisco, CA Drawings, Haines Gallery, San Francisco, CA Sino KAt Home and Abroad: Twenty Contemporary Filipino Artists, Asian Art Museum, San Francisco, CA; Contemporary Art Museum, Houston, TX; University of Honolulu, HI; Metropolitan Museum, Manila, Philipines Catalogue SF Babaylan: An Exhibition of Contemporary Art from Eight San Francisco, Bay Area Women Artists, Museo Ng maynil, Manila, Philippines catalogue Landscape and Memory, Haines Gallery, San Francisco, CA Drawings, Haines Gallery, San Francisco, CACatalogue SF Babaylan: An Exhibition of Contemporary Art from Eight San Francisco, Bay Area Women Artists, Museo Ng maynil, Manila, Philippines catalogue Landscape and Memory, Haines Gallery, San Francisco, CA Drawings, Haines Gallery, San Francisco, CAcatalogue Landscape and Memory, Haines Gallery, San Francisco, CA Drawings, Haines Gallery, San Francisco, CA Sino Ka?

(This statement was originally published in the exhibition catalogue that accompanied this installation when it was first on view at the Museum of Contemporary Art, Chicago in Dan Flavin: alternating pink and «gold,» December 9, 1967 - January 14, 1968, Flavin's first solo museum exhibition.)

In an illuminating interview with Barbara Takenaga, which is included in the catalogue accompanying her exhibition of New Paintings at DC Moore Gallery (September 5 — October 5, 2013), Robert Kushner makes an observation that goes to the heart of a question that I want to raise about the artist's recent work:

This fully illustrated catalogue, designed by Philipp Hubert and co-published by ArtAsiaPacific and Samuel Dorksy Museum of Art, State University of New York at New Paltz, includes texts by exhibition curator Rachel Perera Weingeist, curator and writer David Elliott and Tibetan cultural activist Jamyang Norbu.

The joint exhibitions will be accompanied by a significant three - volume catalogue with texts by Margit Rowell, a former curator at The Museum of Modern Art, Centre Georges Pompidou, Centro de arte Reina Sofia and the Solomon R. Guggenheim Museum, on Miró's Constellations, and art historian and author Mildred Glimcher on Calder's Constellations.

This catalogue is published in conjunction with the exhibition «Anonymous: Contemporary Tibetan Art» at Samuel Dorsky Museum in New Paltz which features over 50 works of painting, sculpture, installation and video art by 27 Tibetan artists.

* This review (September 2011) incorporates part of the review written by Janet McKenzie for Studio International at the time of the National Gallery, London exhibition, in 2001, for which an excellent catalogue was produced.

Juliano - Villani is preparing a solo exhibition at Studio Voltaire, London in 2016, which will be accompanied by a catalogue.

1988 Tricia Collins and Richard Milazzo, «Terminal Access,» in Art at the End of the Social, exhibition catalogue (Malmö, Sweden: The Rooseum, 1988).

2012 Roberto Paradise Josh Lilley Gallery, London, United Kingdom Pasiones Contemporaneas, Museo de Arte de Ponce, Ponce, Puerto Rico, curated by Maria de la Serna The Way In Popular Center, San Juan, Puerto Rico Curated by Io Carrion Someone Else's Dream, Hyde Park Art Center, Chicago, IL, Curated by John Mckinnon Idealizing the Imaginary, Oakland U. Art Museum, MI (catalogue) Chiquitolina La Quince, San Juan Puerto Rico, Curated by Jorge Roman Handler, Western Exhibitions, Chicago, IL, Curated by John Rippenhoff Michelle Grabner: The Inova Survey Inova, UW - Milwaukee, WI, Curated by John Rippenhoff Where My Cones At?

Gerhard Richter: Bilder 1963 — 2007 is the catalogue published to coincide with the exhibition at the National Art Museum in Beijing in 2008

Paul Mathieu, Associate Professor of Visual Art and Material Culture at Emily Carr University, has been contributing to an ongoing donation of exhibition catalogues and critical theory related to the study of ceramics, craft practices, design, ornament and art.

In the catalogue of the 2002 Hains show at the Moore College of Art and Design in Philadelphia (one of his few solo exhibitions in the U.S.), Christine Macel describes Hains's discovery of this approach:

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.

Dominique Lévy will celebrate representation of Seung - taek Lee with a 2017 solo exhibition at its New York location, accompanied by a scholarly catalogue.

«Pose and Sculpture,» curated by Daniel Baumann, Casey Kaplan, New York, NY, June 30 — August 4, 2006 «Two or Three or Something: Maria Lassnig, Liz Larner,» Kunsthaus Graz, February 4 — May 7, 2006 «Whitney Biennial 2006: Day for Night,» Whitney Museum of American Art, New York, NY, March 2 - May 28, 2006 «Gone Formalism,» Institute of Contemporary Art at the University of Pennsylvania, Pittsburg, January 21 — March 26, 2006 2005 «Extreme Abstraction,» curated by Louis Grachos and Claire Schneider, Albright Knox Art Gallery, Buffalo, NY, July 15 — October 2, 2005, catalogue «The The,» curated by Stuart Shave, Modern Art, London, July 8 — August 7, 2005 «The Meeting,» curated by Kathryn Andrews, Center for the Arts of Eagle Rock, Los Angeles, CA, May 27 — July 2, 2005 2004 «Showdown,» curated by Kimberli Meyer and Fritz Haeg, Schindler House, Los Angeles, October 22 — 23, 2004 «Full House,» curated by David Pagel, East Gallery, Claremont Graduate University, Claremont, CA, August 16 - September 10, 2004 «100 Artist See God,» curated by John Baldessari and Meg Cranston, The Jewish Museum San Francisco, March 7 — June 27, 2004; Laguna Art Museum, Laguna Beach, CA, July 25 — October 3, 2004; Institute of Contemporary Art, London, England, November 19, 2004 — January 9, 2005; Contemporary Art Center of Virginia, Virginia Beach, Virginia, June 9 — September 4, 2005, catalogue «The Thought that Counts,» curated by Jason Meadows, Sister Gallery, Los Angeles, CA 2003 «Inaugural Exhibition,» Regen Projects, Los Angeles, CA, January 25 - March 8 «Within Hours We Would Be in the Middle of Nowhere,» 303 Gallery, New York, NY, July 19 — August 29, 2003 neugerriemschneider, Berlin, Germany «Popstraction,» curated by Paola Antonelli, curator of Architecture and Design at MOMA and independent curator and writer, Eungie Joo, Deitch Projects, New York, NY, catalogue «Imagination: Perception in Art,» curated by Peter Pakesch and Martin Prinzhorn, Kunsthaus Graz, Graz, Austria, October 25, 2003 — January 18, 2004, catalogue Tanya Bonakdar Gallery, New York, NY, November 20, 2003 — January 10, 2004 2002

Blow by Blow Exhibition catalogue for Blow by Blow, a solo presentation of Arlene Shechet's work at the Tang Museum of Art in Saratoga Springs, NY, from Sept 26, 2009 - Jan 2, 2010.

That paean to her neighbourhood, which you can find in the catalogue to the current exhibition at Victoria Miro, was written just after the war and through the eyes of someone by now on intimate terms with her corner of working - class Upper Manhattan (Neel had moved from Greenwich Village, which by then was already a bohemian hangout full of artists, so it might appear she was deliberately cutting herself off from that cultural milieu).

Catalogue published on the occasion of the exhibition «Malcolm Morley: Rules of Engagement,» presented at Sperone Westwater, New York, 31 March - 30 April 2013.

Monet's Years at Giverny Beyond Impressionism, exhibition catalogue, New York, The Metropolitan Museum of Art, 1978.

Karen Wilkin, «Greenberg and the Syracuse Artists», The Mirror Eye, Clement Greenberg in Syracuse, catalogue to the exhibition, Greenberg in Syracuse, Then and Now, May / June 2005, Syracuse, NY Suzanne Shane, «Greenberg in Syracuse, Then And Now», The Mirror Eye, Clement Greenberg in Syracuse, catalogue to the exhibition, Greenberg in Syracuse, Then and Now, May / June 2005, Syracuse, NY Clement Greenberg, «Interview with Clement Greenberg», Direct Sculpture; Dialogue in Polymers, catalogue to the exhibition, UMass / Amherst 2006 Robert Morgan, Clement Greenberg, Late Writings, University of Minnesota Press 2003 Donald Kuspit, «A Critic's Collection», Artnet.com, August 3, 2001 Karen Wilkin; Bruce Guenther, Clement Greenberg A Critic's Collection, Princeton University Press 2001 «Recontre avec Darryl Hughto, L'mour de la matiere», Pratique Des Arts, no. 36 Fevrier - Mars 2001 Michael Ennis, «Long on Art», Architectural Digest, May 1996 Dodie Kazanjian, «On Target», Vogue, February 1990 Karen Wilkin, «At the Galleries», Partisan Review, no. 2, 1989 Grace Glueck, «1 + 1 on Madison, Couples Show Adds Up», The New York Times, Feb. 17, 1984 Valentin Tatransky, «The Art of Painting; Jules Olitski, Lawrence Poons, and Darryl Hughto», Arts Magazine, May 1983 Terry Fenton, Darryl Hughto, Recent Paintings, Catalogue to the exhibition, The Edmonton Art Gallery, November 1981 Karen Wilkin, «The New Generation; A Curator's Choice», art magazine, May / June 1981 Ken Carpenter, «New Abstract Art», art magazine, May / June 1981 Stephen Pentak, «Darryl Hughto», Arts Magazine, May 1981 Vivien Raynor, «Darryl Hughto», The New York Times, May 30, 1980 Kenworth Moffett, The New Generation; A Curator's Choice, Rhineburgh Press, NY, 1980 Ken Carpenter, Darryl Hughto, catalogue to the exhibition, Meredith Long Contemporary, NY, 1980 John Russell, «The 20th Century at the Met», The New York Times, August 12, 1979 Suzanne Shane, «Darryl Hughto», 57th Street Review, Feb. 1976 Ken Carpenter, «Third Generation Abstraction: Darryl Hughto», Arts Magazine, Feb. 1975 James Harithas, Notes on Darryl Hughto, Catalogue to the exhibition, Everson Museum, catalogue to the exhibition, Greenberg in Syracuse, Then and Now, May / June 2005, Syracuse, NY Suzanne Shane, «Greenberg in Syracuse, Then And Now», The Mirror Eye, Clement Greenberg in Syracuse, catalogue to the exhibition, Greenberg in Syracuse, Then and Now, May / June 2005, Syracuse, NY Clement Greenberg, «Interview with Clement Greenberg», Direct Sculpture; Dialogue in Polymers, catalogue to the exhibition, UMass / Amherst 2006 Robert Morgan, Clement Greenberg, Late Writings, University of Minnesota Press 2003 Donald Kuspit, «A Critic's Collection», Artnet.com, August 3, 2001 Karen Wilkin; Bruce Guenther, Clement Greenberg A Critic's Collection, Princeton University Press 2001 «Recontre avec Darryl Hughto, L'mour de la matiere», Pratique Des Arts, no. 36 Fevrier - Mars 2001 Michael Ennis, «Long on Art», Architectural Digest, May 1996 Dodie Kazanjian, «On Target», Vogue, February 1990 Karen Wilkin, «At the Galleries», Partisan Review, no. 2, 1989 Grace Glueck, «1 + 1 on Madison, Couples Show Adds Up», The New York Times, Feb. 17, 1984 Valentin Tatransky, «The Art of Painting; Jules Olitski, Lawrence Poons, and Darryl Hughto», Arts Magazine, May 1983 Terry Fenton, Darryl Hughto, Recent Paintings, Catalogue to the exhibition, The Edmonton Art Gallery, November 1981 Karen Wilkin, «The New Generation; A Curator's Choice», art magazine, May / June 1981 Ken Carpenter, «New Abstract Art», art magazine, May / June 1981 Stephen Pentak, «Darryl Hughto», Arts Magazine, May 1981 Vivien Raynor, «Darryl Hughto», The New York Times, May 30, 1980 Kenworth Moffett, The New Generation; A Curator's Choice, Rhineburgh Press, NY, 1980 Ken Carpenter, Darryl Hughto, catalogue to the exhibition, Meredith Long Contemporary, NY, 1980 John Russell, «The 20th Century at the Met», The New York Times, August 12, 1979 Suzanne Shane, «Darryl Hughto», 57th Street Review, Feb. 1976 Ken Carpenter, «Third Generation Abstraction: Darryl Hughto», Arts Magazine, Feb. 1975 James Harithas, Notes on Darryl Hughto, Catalogue to the exhibition, Everson Museum, catalogue to the exhibition, Greenberg in Syracuse, Then and Now, May / June 2005, Syracuse, NY Clement Greenberg, «Interview with Clement Greenberg», Direct Sculpture; Dialogue in Polymers, catalogue to the exhibition, UMass / Amherst 2006 Robert Morgan, Clement Greenberg, Late Writings, University of Minnesota Press 2003 Donald Kuspit, «A Critic's Collection», Artnet.com, August 3, 2001 Karen Wilkin; Bruce Guenther, Clement Greenberg A Critic's Collection, Princeton University Press 2001 «Recontre avec Darryl Hughto, L'mour de la matiere», Pratique Des Arts, no. 36 Fevrier - Mars 2001 Michael Ennis, «Long on Art», Architectural Digest, May 1996 Dodie Kazanjian, «On Target», Vogue, February 1990 Karen Wilkin, «At the Galleries», Partisan Review, no. 2, 1989 Grace Glueck, «1 + 1 on Madison, Couples Show Adds Up», The New York Times, Feb. 17, 1984 Valentin Tatransky, «The Art of Painting; Jules Olitski, Lawrence Poons, and Darryl Hughto», Arts Magazine, May 1983 Terry Fenton, Darryl Hughto, Recent Paintings, Catalogue to the exhibition, The Edmonton Art Gallery, November 1981 Karen Wilkin, «The New Generation; A Curator's Choice», art magazine, May / June 1981 Ken Carpenter, «New Abstract Art», art magazine, May / June 1981 Stephen Pentak, «Darryl Hughto», Arts Magazine, May 1981 Vivien Raynor, «Darryl Hughto», The New York Times, May 30, 1980 Kenworth Moffett, The New Generation; A Curator's Choice, Rhineburgh Press, NY, 1980 Ken Carpenter, Darryl Hughto, catalogue to the exhibition, Meredith Long Contemporary, NY, 1980 John Russell, «The 20th Century at the Met», The New York Times, August 12, 1979 Suzanne Shane, «Darryl Hughto», 57th Street Review, Feb. 1976 Ken Carpenter, «Third Generation Abstraction: Darryl Hughto», Arts Magazine, Feb. 1975 James Harithas, Notes on Darryl Hughto, Catalogue to the exhibition, Everson Museum, catalogue to the exhibition, UMass / Amherst 2006 Robert Morgan, Clement Greenberg, Late Writings, University of Minnesota Press 2003 Donald Kuspit, «A Critic's Collection», Artnet.com, August 3, 2001 Karen Wilkin; Bruce Guenther, Clement Greenberg A Critic's Collection, Princeton University Press 2001 «Recontre avec Darryl Hughto, L'mour de la matiere», Pratique Des Arts, no. 36 Fevrier - Mars 2001 Michael Ennis, «Long on Art», Architectural Digest, May 1996 Dodie Kazanjian, «On Target», Vogue, February 1990 Karen Wilkin, «At the Galleries», Partisan Review, no. 2, 1989 Grace Glueck, «1 + 1 on Madison, Couples Show Adds Up», The New York Times, Feb. 17, 1984 Valentin Tatransky, «The Art of Painting; Jules Olitski, Lawrence Poons, and Darryl Hughto», Arts Magazine, May 1983 Terry Fenton, Darryl Hughto, Recent Paintings, Catalogue to the exhibition, The Edmonton Art Gallery, November 1981 Karen Wilkin, «The New Generation; A Curator's Choice», art magazine, May / June 1981 Ken Carpenter, «New Abstract Art», art magazine, May / June 1981 Stephen Pentak, «Darryl Hughto», Arts Magazine, May 1981 Vivien Raynor, «Darryl Hughto», The New York Times, May 30, 1980 Kenworth Moffett, The New Generation; A Curator's Choice, Rhineburgh Press, NY, 1980 Ken Carpenter, Darryl Hughto, catalogue to the exhibition, Meredith Long Contemporary, NY, 1980 John Russell, «The 20th Century at the Met», The New York Times, August 12, 1979 Suzanne Shane, «Darryl Hughto», 57th Street Review, Feb. 1976 Ken Carpenter, «Third Generation Abstraction: Darryl Hughto», Arts Magazine, Feb. 1975 James Harithas, Notes on Darryl Hughto, Catalogue to the exhibition, Everson Museum, Mar. 19At the Galleries», Partisan Review, no. 2, 1989 Grace Glueck, «1 + 1 on Madison, Couples Show Adds Up», The New York Times, Feb. 17, 1984 Valentin Tatransky, «The Art of Painting; Jules Olitski, Lawrence Poons, and Darryl Hughto», Arts Magazine, May 1983 Terry Fenton, Darryl Hughto, Recent Paintings, Catalogue to the exhibition, The Edmonton Art Gallery, November 1981 Karen Wilkin, «The New Generation; A Curator's Choice», art magazine, May / June 1981 Ken Carpenter, «New Abstract Art», art magazine, May / June 1981 Stephen Pentak, «Darryl Hughto», Arts Magazine, May 1981 Vivien Raynor, «Darryl Hughto», The New York Times, May 30, 1980 Kenworth Moffett, The New Generation; A Curator's Choice, Rhineburgh Press, NY, 1980 Ken Carpenter, Darryl Hughto, catalogue to the exhibition, Meredith Long Contemporary, NY, 1980 John Russell, «The 20th Century at the Met», The New York Times, August 12, 1979 Suzanne Shane, «Darryl Hughto», 57th Street Review, Feb. 1976 Ken Carpenter, «Third Generation Abstraction: Darryl Hughto», Arts Magazine, Feb. 1975 James Harithas, Notes on Darryl Hughto, Catalogue to the exhibition, Everson Museum, Catalogue to the exhibition, The Edmonton Art Gallery, November 1981 Karen Wilkin, «The New Generation; A Curator's Choice», art magazine, May / June 1981 Ken Carpenter, «New Abstract Art», art magazine, May / June 1981 Stephen Pentak, «Darryl Hughto», Arts Magazine, May 1981 Vivien Raynor, «Darryl Hughto», The New York Times, May 30, 1980 Kenworth Moffett, The New Generation; A Curator's Choice, Rhineburgh Press, NY, 1980 Ken Carpenter, Darryl Hughto, catalogue to the exhibition, Meredith Long Contemporary, NY, 1980 John Russell, «The 20th Century at the Met», The New York Times, August 12, 1979 Suzanne Shane, «Darryl Hughto», 57th Street Review, Feb. 1976 Ken Carpenter, «Third Generation Abstraction: Darryl Hughto», Arts Magazine, Feb. 1975 James Harithas, Notes on Darryl Hughto, Catalogue to the exhibition, Everson Museum, catalogue to the exhibition, Meredith Long Contemporary, NY, 1980 John Russell, «The 20th Century at the Met», The New York Times, August 12, 1979 Suzanne Shane, «Darryl Hughto», 57th Street Review, Feb. 1976 Ken Carpenter, «Third Generation Abstraction: Darryl Hughto», Arts Magazine, Feb. 1975 James Harithas, Notes on Darryl Hughto, Catalogue to the exhibition, Everson Museum, Mar. 19at the Met», The New York Times, August 12, 1979 Suzanne Shane, «Darryl Hughto», 57th Street Review, Feb. 1976 Ken Carpenter, «Third Generation Abstraction: Darryl Hughto», Arts Magazine, Feb. 1975 James Harithas, Notes on Darryl Hughto, Catalogue to the exhibition, Everson Museum, Catalogue to the exhibition, Everson Museum, Mar. 1973

Past shows include, group exhibition at Marian Goodman Gallery, Paris, 2007; Last Attraction / Next Exit, curated by Neville Wakefield, Max Wigram gallery, London, 2007; Beneath the Underdog, curated by Nate Lowman and Adam McEwan, Gagosian Gallery, New York; Art Positions, Art Basel Miami Beach, Florida, 2006; and Whitney Biennial 2006, Whitney Museum of American Art, New York; Kick the Dog, Herzilya Museum of Contemporary Art, Herzilya, Israel (catalogue), 2005.

The Baltimore Museum of Art, the presenter of the U.S. Pavilion at the 2017 Venice Biennale along with the Rose Art Museum at Brandeis University, today announced the publication of Tomorrow Is Another Day, the official catalogue accompanying the exhibition of the same name featuring new work by Mark Bradford for the U.S. Pavilion.

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.

An exhibition catalogue will be published, including a text by the British physicist and cosmologist Roger Penrose and a text by Maaretta Jaukkuri, Chief Curator at KIASMA Museum of Contemporary Art, Helsinki.

188 page hardcover catalogue accompanying the exhibition on view at Acquavella Galleries from February 1 - March 16, 2018.

The book, edited by Trevor Schoonmaker, Curator of Contemporary Art at the Nasher, brilliantly presents a masterful look at the figurative painting, a selection of which can be seen in the next iteration of Soul of a Nation, which opened earlier this month at the Crystal Bridges Museum of American Art in Bentonville, Arkansas, as well as in the exhibition catalogue, available from the Tate, which features Hendricks» painting «What's Going On» (1974) on the cover.

I'm pleased to announce that an essay of mine is included in the catalogue accompanying «Joseph Fiore: Small Collages», an exhibition currently on display at Meredith Ward Fine Art.

James's writings have been included in Artforum and the International Review of African American Art, in addition to exhibition catalogues for the ICA LA, the Leslie - Lohman Museum of Gay and Lesbian Art, New York; Hammer Museum, Los Angeles; the Nasher Museum at Duke University, Chapel Hill, N.C.; and the Studio Museum in Harlem, New York, among others.

Exhibition Catalogue published on the occasion of Helen Marten's exhibition Drunk Brown House at the Serpentine SacklExhibition Catalogue published on the occasion of Helen Marten's exhibition Drunk Brown House at the Serpentine Sacklexhibition Drunk Brown House at the Serpentine Sackler Gallery

As a measure of its growing ambition, the catalogue for Marlborough's impressive 1960 Van Gogh exhibition of 18 self - portraits was introduced with an essay «Van Gogh looks at himself» by the then director of the Kröller - Müller Museum in Otterlo, Professor A-M Hammacher, and a further essay by Oskar Kokoschka entitled «Van Gogh's influence on modern painting».