Sentences with phrase «exhibition catalogues as»
Schoonmaker is the editor of several exhibition catalogues as well as the book» ˜Fela: From West Africa to West Broadway» (Palgrave Macmillan, 2003).
https://www.saatchiart.com/
The Künstlerhaus furthermore encourages critical reflection on subjects related to contemporary art and culture through its wide range of publications, among which artists» and exhibition catalogues as well as the Be Magazine, a yearly journal for art and criticism.
His writings have appeared in many exhibition catalogues as well as in Mousse Magazine, Journal of Visual Culture, RETHINKING MARXISM, and Shifter Magazine, and on Artforum.com.
He has written extensively for many exhibition catalogues as well as publications such as Art Review, Contemporary, Contemporary Visual Arts and Modern Painters.
She has written for numerous Whitney exhibition catalogues as well as contributed to Artforum and Art in America.
Her writings have appeared in numerous exhibition catalogues as well as art publications such as Spike, Metropolis M, Mousse, Kaleidoscope, ArtReview, Flash Art, among others.
He has also written monographs on Polly Apfelbaum, Richard Artschwager, Jeremy Blake, Vija Celmins, Toba Khedoori, Monique Prieto, and Wolfgang Tillmans, among others, and contributed to such exhibition catalogues as Helter Skelter and Public Offerings (both Museum of Contemporary Art, Los Angeles, 1992 and 2001 respectively).
His extensive writing credits include a wide range of contributions to exhibition catalogues as well as numerous contributions to Artforum, Frieze, Flash Art, and Parkett.
His curatorial work took place both in physical spaces and, most significantly, in the form of books, in which he re-defined the exhibition catalogue itself as the exhibition.
The exhibition's scholarly intent and scope will be further reinforced by the exhibition catalogue as well as by a number of educational activities such as lectures and other events related to the topic.
Dark Habits is the seventh publication from HOME Publishing since inception in 2015 to challenge and re-position the traditional exhibition catalogue as an artwork and commission in its own right, Dark Habits takes its inspiration from the classic Pedro Almodóvar film on the occasion of the group exhibition, La Movida at HOME, Manchester (14 April — 17 July 2017).
This Tuesday Evening presentation offers insight into work described in the 2008 Whitney Biennial exhibition catalogue as, «Investigations into various forms of social transgression and arguments for political subversion.»
Depopulated and forlorn, they also commemorate the end of the Lower East Side memorialized in Wong's earlier works, portraying what Julie Ault describes in the exhibition catalogue as the «casualties of yuppification on the cusp of uninvited redevelopment».
Not exact matches
In addition to the many recent books, articles, and exhibition catalogues converging on the life and art of Johannes Vermeer, various BUILD Series NYC is a live interview series where fans sit inches away from some of the biggest names in entertainment, fashion and business as they share
Bringing together newly commissioned essays from leading activists, curators, and humanitarians, extensive photographic documentation, and an array of archival materials, the catalogues will serve as the comprehensive record for this groundbreaking exhibition and provide readers with an expanded historical and political context for the project.
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 City as Festival,» in Robert Tannen: REPROspective evitcepsORPER, exhibition catalogue (New Orleans: Contemporary Art Center, 1990).
Critical texts are placed alongside sketches by artists such as Richard Deacon or hand - drawn layouts for catalogues by Sol LeWitt, as well as installation instructions from Carl Andre or exhibition notes by Dan Graham.
To accompany the exhibition, a fully illustrated catalogue was published, including texts by writers John Banville and Richard Bradford, as well as Larkin poetry (Other Criteria / Gagosian Gallery, 2007).
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.
2018 As Far as the Eye Can See, New Insight into the Würth Collection, exhibition catalogue (Künzelsau: Kunsthalle Würth, 2018), 2As Far as the Eye Can See, New Insight into the Würth Collection, exhibition catalogue (Künzelsau: Kunsthalle Würth, 2018), 2as the Eye Can See, New Insight into the Würth Collection, exhibition catalogue (Künzelsau: Kunsthalle Würth, 2018), 28.
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.»
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.
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.
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.
«It as been our passion and profession, my wife and I, to create an exhibition of American Abstraction in Europe since 1986,» Otto Hübner writes in the foreword for the catalogue accompanying the exhibition, «For years I have wanted to crate a museum exhibition with the works by Sam Francis, Adolph Gottlieb, Hans Hofmann, Charles Pollock, Richard Pousette - Dart, David Smith and Jack Tworkov.
In addition to the Center's collection of artworks, the CCS Bard Library and Archives house more than 25,000 books and exhibition catalogues focusing on contemporary art, exhibition history, and the theory and interpretation of contemporary art and culture, as well as extensive research archives comprising over 1,000 linear feet of material.
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.
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.
Books, exhibition catalogues, instructional DVDs are cherished resources for new painters seeking guidance and support for their own work as well as insight into the work of the featured artist.
Albers hoped his recruitment efforts would be, as Robert Mattison states in the exhibition catalogue, Audrey Flack: The Abstract Expressionist Years, «a way of enlivening the program and revolutionizing the school.»
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.
Raphael Rubenstein's strong interest in painting is manifested though this exhibition catalogue, which «focuses on New York painting in the 1980s as practiced by a generation born between 1939 and 1949.»
The catalogue for that exhibition included an interview between the artist and Kristine McKenna, in which he says, «As we age, our physical need for sex decreases, but the role it plays in our imagination and in our emotional lives remains the same, and may even increase.»
The exhibition is accompanied by a catalogue edited by Klaus Biesenbach, with essays by Susan Sontag and Rainer Werner Fassbinder as well as 570 color film stills, the complete screenplay, biography, bibliography, and filmography.
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.
Besides her exhibition catalogues, Smith's writings have appeared in such publications as Revolution in the Making: Abstract Sculpture by Women 1947 - 2016; Helen Frankenthaler: Composing with Color, 1962 - 1963; The Drawings of Do Ho Suh; The Architecture of Bertrand Goldberg; Chicago Makes Modern; Buckminster Fuller: Starting with the Universe; Design Cities; Birth of the Cool; and the 54th Carnegie International.
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.
A fully illustrated catalogue features texts by Byers, Claire Bishop, Lynne Cooke, and Ingrid Schaffner, as well as a historical compendium of influential 20th - century artworks and exhibitions that provide important precedent to the works in the exhibition.
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».
Midori Nishizawa, Peter Halley, Painting as Sociogram 1981 — 1997, exhibition catalogue, Kitakyushu Municipal Museum of Art, Kitakyushu, Japan.
2007 — Representation 2007, Jenkins Johnson Gallery, NYC 2006 — 10 Years — A Retrospective, Dolby - Chadwick Gallery, San Francisco 2005 — Domestic Disturbance, Evanston Art Center, Evanston, IL 2005 — Sinister, Tarble Art Center, Eastern Illinois University, Charleston, IL 2004 — The Reflected / Refracted Self, Carl Hammer Gallery, Chicago 2004 — The Artist as Collector, Northern Indiana Arts Association, Munster, IN 2004 — American Realism, Plus One Plus Two Galleries, London 2004 — Meat Market, Lyonswier Gallery, NYC 2003 — Group Show, Dolby - Chadwick Gallery, San Francisco 2002 — Here and Now, Cultural Center, Chicago (catalogue) 2002 — Harboring Beauty, Gesheidle Gallery, Chicago 2002 — Art Chicago, Chicago 2002 — San Francisco International Art Exposition, San Francisco 2001 — Snowglobe Invitational, Gescheidle, Chicago 2001 — Pin - up, Lyonswier Gallery, NYC 2001 — Welcome to My Dollhouse, Zolla - Lieberman Gallery, Chicago 2001 — Subject Matters, Standard Gallery, Chicago (catalogue) 2001 — Artists / Alumni, Block Museum, Northwestern University, Evanston, IL (catalogue) 2001 — Narrative Sampler, Lyonswier Gallery, Chicago 2000 — Les Chemical Carnales, Hyde Park Art Center, Chicago 2000 — Shake the Coat, North Park University, Chicago 2000 — Union League Civic and Arts Foundation Scholarship Exhibition, Chicago 1999 — Union League Civic and Arts Foundation Scholarship Exhibition, Chicago 1999 — Votive Offerings, Hyde Park Art Center, Chicago
The catalogue features a new essay written by artist and critic Joe Fyfe, as well as a selection of works from the exhibition.
The National Endowment for the Arts (NEA) granted $ 10,000 to Artists Space for the exhibition, but when the catalogue appeared with an essay by David Wojnarowicz that excoriated politicians and the clergy for their inaction in the face of the crisis — or for their outright attacks on people with AIDS — the NEA came under fire from ultraconservative politicians such as Senator Jesse Helms.
Lévy Gorvy will also present an exhibition of Agnetti's work in New York in summer 2017, accompanied by an illustrated catalogue featuring new scholarships well as the artist's writings.
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.
As Doro Globus writes in the exhibition catalogue, «Wilson's appropriation is wide reaching.
Originally published in 2010 on the occasion of Against the Wall, Dumas's first solo presentation at David Zwirner in New York, this much sought - after exhibition catalogue — which sold out shortly after publication — has been reprinted to coincide with the artist's 2014 — 2015 European retrospective exhibition The Image as Burden, organized by Tate Modern, London in collaboration with the Stedelijk Museum, Amsterdam and the Fondation Beyeler, Basel.
In the exhibition's catalogue Bernice Rose states: «Chamberlain's is a radical step in this [modernism's] history: the translation of de Kooning's inherently sculptural continued... brushstroke from a soft material used for the creation of visual illusions and illusionary spaces into a hard, thin, and three - dimensional substance that could be considered as a support for those illusions.»
Planned and designed with artist Tom Dolan, this 80 - page book functions asa work of art as well and fits in with Thater's idea that all things associated with a work, be it the entrance to the exhibition space, the invitation or the catalogue, must attend to the ideas driving the work.