Sentences with phrase «exhibition catalogue introduction»

In the exhibition catalogue introduction, Harrison recalls ``... Newell's work captivated me aesthetically — the paintings are drop - dead gorgeous — and by their remarkable unity over a span of some 30 years.

- 1992 Goldsmiths» Hall exhibition catalogue introduction by David Thomas, Liveryman, The Goldsmiths» Company

Langlands & Bell: Films & Animations 1978 — 2008 Exhibition catalogue Introduction by Pat Fisher, Essay Remote Control by Chrissie Iles, Published by Talbot Rice Gallery Edinburgh, UK

Not exact matches

Patrick Heron wrote an introduction to a Wynter exhibition catalogue for the New Art Centre, March — April 1982 and devoted most of his text to a consideration of the sort of shapes and marks most identified with the artist.

2006 «Introduction,» in Andrej Zielinski: Homecoming, exhibition catalogue (Overland Park, KS: The Nerman Museum of Contemporary Art, 2006).

«Introduction,» in Chris Martin, exhibition catalogue (New York: Pierogi Gallery, 1997).

(There is an illustrated catalogue accompanying the exhibition, with excellent essays by Nathan Cohen and Laura Davidson and an introduction by Alex Meurice.)

T03458 ANTONY AND CLEOPATRA 1982 Oil on canvas 114 1/4 × 113 5/16 (2893 × 2872) Inscribed «Gillian Ayres» b.r. Purchased from Knoedler Gallery (Grant - in - Aid) 1982 Exh: Gillian Ayres, Knoedler Gallery, April — May 1982 (20, as «Anthony and Cleopatra»); Gillian Ayres, Serpentine Gallery, November 1983 — January 1984 (17, as «Anthony and Cleopatra») Lit: Tim Hilton, introduction to Gillian Ayres, exhibition catalogue, Serpentine Gallery, November 1983 — January 1984, p. 16 as «Anthony and Cleopatra» The following entry is based upon a conversation between the compiler and the artist held on 8 April 1986 and has been approved by the artist.

In the catalogue introduction to the exhibition Fry argued that the post-impressionist creates, not a pale response to actual appearance, but a new reality.18 He argued that the logical extreme of such a method would be the complete renunciation of natural form and the creation of a purely abstract language, a visual music.

Another of Walker's students was Arthur Watson, now president of the Royal Scottish Academy; in the introduction to Downie's exhibition catalogue for her 2013 show Walk Through Resonant Landscape, the consequence of her Chinese residency and travels, Watson observes the contribution made by Walker to her students» ability to perceive and explore the unique landscape of Scotland and for the primacy of drawing: «With a base on the island of Tiree, [Frances Walker] ranged across the West Coast and Western Isles interrogating the coastal margins — the rhythm of pebbles across a storm beach or the fractured architecture of a rocky foreshore, meticulously recorded through a vocabulary of precise but unforgiving ink lines.»

-- alien matter — An introduction by Inke Arns is published to accompany the transmediale 2017 exhibition catalogue.

Black Male Representations of Masculinity in Contemporary American Art, An Introduction for Students Exhibition catalogue, Whitney Museum of American Art, 945 Madison Avenue, New York, New York 10021, 10 November 1994 — 5 March 1995 SAHLI Abderrazak Sahli Exhibition catalogue Bakou, including price list, with foreword by Rose Issa.

The catalogue will include an introduction by Klaus Biesenbach as well as texts on each artist in the exhibition written by P.S. 1 and MoMA curators.

Exhibition catalogue with introduction by Kim Tyler.

Exhibition catalogue with introduction by Suzanne Boorsch and essay by Judith Goldman.

Exhibition catalogue with introduction by Bo Nilsson.

Selected Bibliography «No Border: Zheng Xuewu Solo Exhibition,» Time Out Beijing, Beijing, August 2007; Jonathan Goodman, «Zheng Xuewu at Art Projects International,» Art Asia Pacific, reproduction, New York, Fall 2005; Xenia Tetmajer von Prxerwa, Zheng Xuewu's Lone Journey into Abstraction, exhibition catalog, Redgate Gallery, Beijing, 2004; Zheng Zuoliang, My View of Xuewu Print, catalog essay, Beijing, 2003; Xenia Tetmajer von Prxerwa, A Labyrinth of Reality, catalog essay, Beijing, 2003; Judith Farquhar, Introduction to Zheng Xuewu's Work, exhibition catalogue, reproductions, Art Scene China, Shanghai, 2003; Song Xiaoxia, «The Visual World in the Eye of the Urchin,» Chinese Art, 1999; Li Chun, «To the Tune of a Different Drum: The Paintings of Zheng Xuewu,» Central Academy of Fine Arts, Beijing, SepteExhibition,» Time Out Beijing, Beijing, August 2007; Jonathan Goodman, «Zheng Xuewu at Art Projects International,» Art Asia Pacific, reproduction, New York, Fall 2005; Xenia Tetmajer von Prxerwa, Zheng Xuewu's Lone Journey into Abstraction, exhibition catalog, Redgate Gallery, Beijing, 2004; Zheng Zuoliang, My View of Xuewu Print, catalog essay, Beijing, 2003; Xenia Tetmajer von Prxerwa, A Labyrinth of Reality, catalog essay, Beijing, 2003; Judith Farquhar, Introduction to Zheng Xuewu's Work, exhibition catalogue, reproductions, Art Scene China, Shanghai, 2003; Song Xiaoxia, «The Visual World in the Eye of the Urchin,» Chinese Art, 1999; Li Chun, «To the Tune of a Different Drum: The Paintings of Zheng Xuewu,» Central Academy of Fine Arts, Beijing, Septeexhibition catalog, Redgate Gallery, Beijing, 2004; Zheng Zuoliang, My View of Xuewu Print, catalog essay, Beijing, 2003; Xenia Tetmajer von Prxerwa, A Labyrinth of Reality, catalog essay, Beijing, 2003; Judith Farquhar, Introduction to Zheng Xuewu's Work, exhibition catalogue, reproductions, Art Scene China, Shanghai, 2003; Song Xiaoxia, «The Visual World in the Eye of the Urchin,» Chinese Art, 1999; Li Chun, «To the Tune of a Different Drum: The Paintings of Zheng Xuewu,» Central Academy of Fine Arts, Beijing, Septeexhibition catalogue, reproductions, Art Scene China, Shanghai, 2003; Song Xiaoxia, «The Visual World in the Eye of the Urchin,» Chinese Art, 1999; Li Chun, «To the Tune of a Different Drum: The Paintings of Zheng Xuewu,» Central Academy of Fine Arts, Beijing, September 1994.

An illustrated catalogue featuring an introduction by Arne Glimcher, a personal letter from Jean Dubuffet to Arne Glimcher and an essay by Dr. Kent Minturn will accompany the exhibition.

Exhibition catalogue with introduction by Gene Baro.

The exhibition is accompanied by an intimate catalogue that includes works in the exhibition, visual references, dialogue between the artist and multiple individuals, and an introduction by the artist.

The exhibition will be accompanied by a fully illustrated two - volume publication: a catalogue with an introduction by the three curators, and an essay by Briony Fer, and a subject index, a second volume in the form of a glossary that is devoted to important ideas in Horn's practice or that relate to individual works.

Each of the case studies, which also include Freeze, London (1988) and New York's Whitney Biennial of 1993, consists of a one - page introduction, followed by archival photographs and text excerpts from their respective exhibition catalogues and contemporaneous press reviews.

The exhibition will be accompanied by a fully - illustrated catalogue authored by Dr. Kellie Jones, Associate Professor in Art History and Archaeology and the Institute for Research in African American Studies at Columbia University, with an introduction by Dr. Robert Storr, former Dean of the Yale School of Art, and a contribution by Alanna Heiss, founder and former director of P.S. 1 and current founder and director of Clocktower Productions.

The exhibition will be accompanied by a fully illustrated color catalogue with an introduction by Helen Tworkov and an essay by Stephen Westfall.

PUBLICATIONS 2015 Pelé: Art, Life, Football exhibition catalogue with essays: Brian Winter, «Why Pelé Still Inspires Us»; Dr. Bernard Vere, «Andy Warhol, Pelé, and the «Athletes» Series» (Halcyon Gallery) 2015 Overlapping View, exhibition catalogue with Introduction by Francesca Gavin (Halcyon Gallery) 2014 An American Trilogy, published by Halcyon Gallery, London

British designer Sir Paul Smith has written the introduction to the exhibition catalogue, which is now available from the gallery.

As Jens Hoffmann observes in his introduction to the «Other Primary Structures» catalogue: «When it comes to exhibitions... we are only beginning to entertain the question of how they might be restaged and experienced anew, decades and continents removed from their original presentation.»

This exhibition is accompanied by a fully illustrated color catalogue, with a foreword by Frederic E. Ossorio, Jr., and an introduction by Harry Cooper, Curator of Modern Art at the Fogg Art Museum.

A catalogue with an introduction by art historian Richard Shiff will accompany the exhibition.

The final exhibition in this student - led format was staged in 1986 with a catalogue which contained a historical introduction (and post-script), to the exhibition by Andrew Lambirth, New Contemporaries Past and Present.

Cerith Wyn Evans, Exhibition Introduction, La Maman et la putain PDF catalogue, Air de Paris, Paris July 2006 Mångsidigt formexperiment, Exhibition review, Milou Allerholm, Dagens Nyheter 060513 GÅVÄNTASTANNA, Exhibition Review, Kim West, Artforum.com, May 2006 Through the Looking Glass, Henrik Plenge Jakobsen and Pernille Albrethsen, Exhibition essay part of exhibition publication GÅVÄNTASTANNA, Marabouparken, Stockholm, April 2006 UNTIL DEATH DO US PART, Tomas Kindenberg, NOLLTJUGOETT, 022006 I ON A LION IN ZION, Anna Colin, Untitled WExhibition Introduction, La Maman et la putain PDF catalogue, Air de Paris, Paris July 2006 Mångsidigt formexperiment, Exhibition review, Milou Allerholm, Dagens Nyheter 060513 GÅVÄNTASTANNA, Exhibition Review, Kim West, Artforum.com, May 2006 Through the Looking Glass, Henrik Plenge Jakobsen and Pernille Albrethsen, Exhibition essay part of exhibition publication GÅVÄNTASTANNA, Marabouparken, Stockholm, April 2006 UNTIL DEATH DO US PART, Tomas Kindenberg, NOLLTJUGOETT, 022006 I ON A LION IN ZION, Anna Colin, Untitled WExhibition review, Milou Allerholm, Dagens Nyheter 060513 GÅVÄNTASTANNA, Exhibition Review, Kim West, Artforum.com, May 2006 Through the Looking Glass, Henrik Plenge Jakobsen and Pernille Albrethsen, Exhibition essay part of exhibition publication GÅVÄNTASTANNA, Marabouparken, Stockholm, April 2006 UNTIL DEATH DO US PART, Tomas Kindenberg, NOLLTJUGOETT, 022006 I ON A LION IN ZION, Anna Colin, Untitled WExhibition Review, Kim West, Artforum.com, May 2006 Through the Looking Glass, Henrik Plenge Jakobsen and Pernille Albrethsen, Exhibition essay part of exhibition publication GÅVÄNTASTANNA, Marabouparken, Stockholm, April 2006 UNTIL DEATH DO US PART, Tomas Kindenberg, NOLLTJUGOETT, 022006 I ON A LION IN ZION, Anna Colin, Untitled WExhibition essay part of exhibition publication GÅVÄNTASTANNA, Marabouparken, Stockholm, April 2006 UNTIL DEATH DO US PART, Tomas Kindenberg, NOLLTJUGOETT, 022006 I ON A LION IN ZION, Anna Colin, Untitled Wexhibition publication GÅVÄNTASTANNA, Marabouparken, Stockholm, April 2006 UNTIL DEATH DO US PART, Tomas Kindenberg, NOLLTJUGOETT, 022006 I ON A LION IN ZION, Anna Colin, Untitled Winter 2006

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.

The exhibition is accompanied by a 55 - page color catalogue with an introduction by Robert Fleck.

A catalogue for the exhibition is forthcoming and features introductions by Hiroshi Sugimoto, Nicolas Trembley, and Yuko

In the introduction to his catalogue for Information, often considered the first exhibition of Conceptual Art at a major museum, curator Kynaston McShine places Reinhardt among those who marked the intellectual climate that produced Conceptualism, along with Marcel Duchamp, Buckminster Fuller, Marshall McLuhan, the I - Ching, the Beatles, Claude Levi - Strauss, John Cage, Yves Klein, Herbert Marcuse, Ludwig Wittgenstein, and others.

New York 2000; Texas Draws, Contemporary Arts Museum catalogue l999; Gael Stack introduction by Maarten van de Guchte and essay by Buzz Spector (catalogue for the exhibition) 1998; Texas: 150 Selections from the Museum of Fine Arts Houston, (curated by Alison de Lima Greene) 2000; Gael Stack: A Survey 1974 — 1989, Dallas Museum of Art, Finders Keepers, The Contemporary Arts Museum, Houston, essays by Marti Mayo, Bruce Webb and Richard Howard (catalogue for the exhibition) 1997; Three Visions, Centro Cultural Borges, Buenos Aires, Argentina 1996; Texas Modern and Post Modern (selections from the permanent collection, Museum of Fine Arts, Texas) l996; The State of the State: Contemporary Art in Texas (from the permanent collection), San Antonio Museum of Art l995; Recent Acquisitions, Yale University Art Gallery, l993.

In the introduction to the catalogue of her 2008 exhibition at the Victoria Miro Gallery in London, Neal Brown wrote:

A major catalogue, Calder After the War, with an introduction by Sir Norman Foster and an important new essay by American art historian Barbara Rose, will accompany the exhibition.

Charles Merewether writes in his introduction to the exhibition's catalogue: «Digital media art, in the hands of such artists as teamLab, succeed as an art of participatory installation and part of our everyday contemporary lives.»

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.

His eponymous essay of 1986 now serves as the catalogue introduction to an exhibition at Michael Werner Gallery in London, of Kirkeby's paintings and sculptures from that decade.

A fully - illustrated exhibition catalogue will include an introduction by artist James Siena and an essay by Isabelle Dervaux, Curator of Modern and Contemporary Drawings, The Pierpont Morgan Library.

but they are., Gregory Lind Gallery, San Francisco, CA The Lineup, Walter and McBean Galleries, San Francisco Art Institute, San Francisco, CA (catalogue) Northwest Annual, Center on Contemporary Art, Seattle, WA Pareidolia, Orange County Center for Contemporary Art, Santa Ana, CA Will's Creek Survey 2004, Allegany Arts Council Saville Gallery, Cumberland, MD New American Talent 19 (two year traveling exhibition), Arthouse, Austin, TX (catalogue) One Line Collective, The Flatiron Building, Chicago, IL Lines, Angles, Curves, Adobe Gallery, Castro Valley, CA 2003 Closer Than You Think, Gregory Lind Gallery, San Francisco, CA Relish, works / san jose, San Jose, CA Dark Spring, Drive Thru Studios, Chicago, IL 2002 Western States Small Works, Sonoma Museum of Visual Art, Santa Rosa, CA Ag: works25, works / san jose, San Jose, CA 1999 Introductions 1999, The Art Foundry Gallery, Sacramento, CA M.F.A. Thesis Exhibition, Mills College Museum, Oakland, CA Bay Area M.F.A., The Mills Building, San Francisco, CA Hubub, works / san jose, San Jose, CA 1998 Rhythm, Gesture & Metaphor, Creative Arts Workshop, New Haven, CT Spanning the Bay, Center for Visual Arts, Oakland, CA 1997 shrink, Southern Exposure, San Francisco, CA 1995 25 x 25 # 20, The Print Club, Philadelphia, PA (edition) Fluxus (in conjunction with John Cage: A RolyoverCircus at Philadelphia Museum of Art), Vox Populi, Philadexhibition), Arthouse, Austin, TX (catalogue) One Line Collective, The Flatiron Building, Chicago, IL Lines, Angles, Curves, Adobe Gallery, Castro Valley, CA 2003 Closer Than You Think, Gregory Lind Gallery, San Francisco, CA Relish, works / san jose, San Jose, CA Dark Spring, Drive Thru Studios, Chicago, IL 2002 Western States Small Works, Sonoma Museum of Visual Art, Santa Rosa, CA Ag: works25, works / san jose, San Jose, CA 1999 Introductions 1999, The Art Foundry Gallery, Sacramento, CA M.F.A. Thesis Exhibition, Mills College Museum, Oakland, CA Bay Area M.F.A., The Mills Building, San Francisco, CA Hubub, works / san jose, San Jose, CA 1998 Rhythm, Gesture & Metaphor, Creative Arts Workshop, New Haven, CT Spanning the Bay, Center for Visual Arts, Oakland, CA 1997 shrink, Southern Exposure, San Francisco, CA 1995 25 x 25 # 20, The Print Club, Philadelphia, PA (edition) Fluxus (in conjunction with John Cage: A RolyoverCircus at Philadelphia Museum of Art), Vox Populi, PhiladExhibition, Mills College Museum, Oakland, CA Bay Area M.F.A., The Mills Building, San Francisco, CA Hubub, works / san jose, San Jose, CA 1998 Rhythm, Gesture & Metaphor, Creative Arts Workshop, New Haven, CT Spanning the Bay, Center for Visual Arts, Oakland, CA 1997 shrink, Southern Exposure, San Francisco, CA 1995 25 x 25 # 20, The Print Club, Philadelphia, PA (edition) Fluxus (in conjunction with John Cage: A RolyoverCircus at Philadelphia Museum of Art), Vox Populi, Philadelphia, PA

Accompanying the exhibition will be an illustrated catalogue, designed by Lorraine Wild of Green Dragon Studio and featuring essays by Bohn - Spector, Mellon, Kenneth Allan (Seattle University, WA), and an introduction by Tosh Berman, reassessing Berman's significant contributions to the history of 20th century American art.

Fully illustrated, 68 page exhibition catalogue with 16 color plates, with a foreword by Frederic E. Ossorio, Jr. and an introduction by Harry Cooper, Curator of Modern Art at Fogg Art Museum, Hardcover.

The show is accompanied by lavishly illustrated, 150 - page catalogue with an introduction by exhibition curators Rebecca Zorach and Elizabeth Rondini, essays on the thematic sections, and entries on selected works.

The Time Being exhibition will be accompanied by a fully illustrated catalogue including an introduction by novelist Howard Jacobson.

(«For an exhibition seeking to emphasize nonverbal, visual plasticity, ambiguity and multivalence, a catalogue with only analytical essays would seem inappropriate,» Kertess wrote in his introduction.)

Kertess's catalogue is less a checklist than an introduction to his philosophy of art, and it contains few photographs of actual works from the exhibition or essays about them.

The above extracts are from an Introduction by Eddie Chambers in the catalogue for «Us an» Dem», an exhibition organised and curated by Eddie Chambers, featuring work by Abdu'Allah, Denzil Forrester and Tam Joseph, the Storey Institute, Lancaster, March 18 - April 15 1994, funded by the Lancashire Probation Service.