Sentences with phrase «exhibition contexts for»

Wilson will give public talks in Atlanta at 7 p.m., Feb. 22 at SCAD Atlanta, fourth floor, Building C, 1600 Peachtree St.; and in Savannah at 7 p.m., Feb. 23, Trustees Theater, 216 E. Broughton St.. A Whitney Museum of American Art board of trustees member and a MacArthur Foundation «genius grant» awardee, Wilson is known for his «institutional interventions» in which he creates new exhibition contexts for the display of art and artifacts found in museum collections through his re-adaptation of wall labels, sound and lighting, as well as his non-traditional pairings of objects.

An acclaimed conceptual artist, Wilson is known for his «institutional interventions,» specifically the ways in which he creates new exhibition contexts for the display of art and artifacts found in museum collections through his re-adaptation of wall labels, sound and lighting, as well as his non-traditional pairings of objects.

Perrotin jumped at the chance for a fresh exhibition context for its roster, an eclectic group that includes KAWS, Hans Hartung, and Pierre Soulages.

Not exact matches

Julie Tomlin and Lou Dawson crafted the words that would explain the context and story of each Station, while Marksteen set about creating response packs that included wristbands, prints, a newspaper and other resources, which were sold at the exhibitions and online to raise money for refugee relief.

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.

These exhibitions present a unique opportunity for encouraging cross-cultural dialogue and critical investigation of Latin American art within local context.

As Victoria L. Valentine writes in an extended preview for Culture Type, «The Seattle Art Museum (SAM) is organizing a major exhibition of three critically recognized African American artists... The exhibition will explore how their distinct approaches to figuration and history painting have recast the Western canon and challenged perceptions of race and representation in a contemporary context.»

Outcomes Workshop: Experts» Meeting for Mural Symposium: Jackson Pollock's Mural: Transition, Context, Afterlife Exhibition: Jackson Pollock's Mural Publication: forthcoming Related Publication: Jackson Pollock's Mural: The Transitional Moment

Edited by the exhibitions's co-curators Frances Morris and Tiffany Bell, and with essays by leading scholars that give a context for Martin's work — her life, relationship with other artists, the influence of South - Asian philosophy — alongside focused shorter pieces on particular paintings, this beautifully designed volume is the definitive publication on her oeuvre.

In the context of the Center for Book Arts, Canceled highlights the book form as a crucial means of disseminating documentation and information on a wide and accessible scale, potentially in ways that are more historically stable, and more effective, than the original exhibition would have been.

For Matheus» first exhibition in Los Angeles, he brings to the fore, in the diverse context of this city, issues of crossing boundaries, the circulation of materials, and the creation of new meanings by awakening subjectivities not originally contained in materials.

Coinciding with his exhibition On Guard, at Harvard University's Hutchins Center for Afro - Latin Studies and Context Art New York, Pier 94, May 4 - 8, 2016.

Much of the work left out of the Whitney Museum's exhibition should be seen especially in the context of the sixties, even if for only equal time.

A GUIDE TO EXHIBITION OPENINGS, TALKS AND EVENTS HAPPENING THIS WEEK IN BLACK ART: March 26 - May 10, 2014 Yinka Shonibare at Brand New Gallery, Milan London - born Yinka Shonibare MBE who was raised in Nigeria «has become well known for his exploration of colonialism and post-colonialism within the contemporary context of globalization.»

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.

They provide critical context, visual reference, an opportunity for innovative design that reflects the work, and a format in which the exhibition can live beyond its presentation dates.

Originally used as a horse stable and now incorporated into the campus of the DuSable Museum of African American History, this luminous, curvilinear room is the newly restored context for «Singing Stones», a group exhibition presented collaboratively by Palais de Tokyo, Institut Français and EXPO Chicago.

The result of a close collaboration between Wolfson and the book designer Joseph Logan, the publication is part exhibition catalogue and part artist's book, and includes a text by Wolfson that provides context for the visual material.

Ursula von Rydingsvard does much better in Madison Square, but she has to compete with large screens for live action from the U.S. Open, and I shall return to her work in context of her gallery exhibition opening in September.

The initiators behind MELK want to showcase the new generation of photographic artists in Norway and Scandinavia and discuss photography as art in an exhibition context in an intricate time for the media.

As the title of the exhibition suggests, lapses in Thinking By the person I Am, one is confronted with not only typographical fragmentation, but also disconcertion for placing the work together with the train in some kind of logical context; by using the story of her body and objects that she interacts with, Pryde literally derails the misconceived notion that we are what we own.

Visitors have two options for navigating the exhibition: a left route, which I'll call Manifest Destiny, and a right route, which I'll haphazardly dub Re-Cut Contexts.

The exhibition is imagined as a context for co-existence — of objects, participants and public — through doing and thinking.

Besides the appropriate but broad curatorial declaration that «art illuminates everyday life in all its beauty, imperfection, and comedy,» the 2013 Carnegie International Curators Daniel Baumann, Dan Byers, and Tina Kukielski composed this year's exhibition without a definitive, centralized theme, but instead a flexibility that allows for separation into more easily digestible parts, and the freedom to play with context.

He was involved in other different solo and collective exhibition projects for several galleries in France and he has also carried out several happenings in different urban contexts in the USA and the UK.

This exhibition features works by caricaturist and cartoonist Thomas Nast for historical context along with works by award - winning editorial cartoonists Matt Davies, Walt Handelsman, Mike Keefe, Steve Kelley, and Signe Wilkinson that offer commentary on our current national election process, candidates, and key issues.

Marco Maggi, «West vs East» Hosfelt Gallery 260 Utah Street, San Francisco, CA 94103 May 10 — July 3, 2014 By Leora Lutz The context for Marco Maggi's exhibition «West vs. East» is...

While the lack of context in Cave's exhibition detracts from the pieces, Ramsey's suits are enlivened in the stark museum setting where they are without the distractions of the street, allowing for more individualized attention.

The exhibition at the University Museum of Contemporary Art will be the context for which a program of panel discussions, public talks, film screenings, readings, and an outreach school program is being organized.

The exhibition's curators, Elisabeth Sussman and Elisabeth Sherman of the Whitney and Christine Macel of the Centre Pompidou, chose to round out the collection's context by including artists whose works are destined for the Whitney as well as the Pompidou, some of whom, Weinberg noted, have their studios in the 10th and 11th arrondissements, the areas afflicted by the worst of the carnage, where poets, dancers, critics, artists and architects were among the dead — «a strike against the heart of Paris's creative community.»

In the context of the exhibition ``... and yet one more world,» presented by Kunsthaus Hamburg, the oeuvre of the seminal German Conceptual artist Hanne Darboven (1941 — 2009) serves as a starting point for an exploration of its present - day impact and relevance from the perspective of a younger generation of international artists.

Prepare for his intimate form of performance to leap back into the discussion this month with the opening of «The Rituals of Rented Island,» a Whitney exhibition that explores his work in the context of the rambunctious»70s avant - garde.

While, over the last year, working toward this exhibition my dialogue with each artist has been autonomous and distinct, and my intention for the exhibition was as much to create a context to highlight each artist's independent vision, I have also come to confirm my intuitive feeling that Will and Pope.L have uncanny overlaps.

Although the Chinati Foundation concentrates primarily on its permanent collection, one or two temporary exhibitions are organized each year to supplement and expand the historical context for the permanent collection.

Our graduates are leaders in cultural production throughout the world.Located within the School of Art + Design, the Richard & Dolly Maass Gallery presents exhibitions that provide professional context for students and interact with their daily classroom experience.

The Hunterian exhibition brings together a dozen paintings and drawings, as well as etchings and books, to illustrate the artistic context for the making of The Entombment.

«The exhibition and book presented images from Evans» various projects out of their original contexts, and without textual explanations — a radical concept for the time,» explains Darius Himes, Christie's International Head of Photographs.

In early 2010, the Gallery opened a second location in an old - world townhouse on the Upper East Side of Manhattan dedicated to mounting a series of curated exhibitions that provide deeper historic context for the Gallery's artists.

After individual aspects of the collection have been presented in various contexts in recent years, the two - part exhibition in the Kunstverein Hannover now offers for the first time the opportunity of a genuinely comprehensive survey.

He has also curated the exhibition with real flair: by dividing the collection into 18 unexpected themes (like Hiking, Food in Context, Interiors and How to Use Them, and the amusingly brilliant Cow Parade), Tebus creates unusual groupings that transcend art - historical periods without the need for elaborate theorising.

Group exhibitions include Prospect.4, the US Biennial in New Orleans (2017 - 2018); In Context: Africans in America, at the Goodman Gallery and the Johannesburg Art Gallery, Johannesburg, South Africa (2016); Represent: 200 Years of African American Art, at The Philadelphia Museum of Art (2015); The Geometric Unconscious: A Century of Abstraction, at the Sheldon Museum of Art, University of Nebraska (2012); ARS 11, Kiasma Museum of Contemporary Art, Helsinki (2011); The Global Africa Project, Museum of Arts and Design, New York (2010); and Wallworks, Yerba Buena Center for the Arts, San Francisco (2009).

• Sunday, June 10, from 1 - 3 pm, there will be an opening event for the exhibition; • Sunday, June 17, at 2 pm, Butler Director Dr. Louis Zona will present a free art talk, «Joan Mitchell in Historical Context,» in the museum's Beecher Center auditorium; • Groups may call to schedule a tour by Butler docent volunteers who will guide visitors through the Joan Mitchell exhibits (330.743.1107, ext. 115);

There's a persistent interest, I think, in giving a context for this material, as when Lynne did this exhibition with Rosemarie Trockel that came to the New Museum here, where it was juxtaposed with the work of someone like Judith Scott, who I presented here at White Columns before I co-curated her retrospective at the Brooklyn Museum.

We provide exhibitions and information which create a historical context for artists and their art, and we follow up with clients as more information on an artist that interests them becomes available.

Since this time Europe proved a better context for her work than the US; as a result, the majority of Sturtevant's major exhibitions have taken place there.

A visual lineage including artists such as Durer, Titian, Giorgione, Hans Baldung Grien, among others will be suggested through reproductions, while quotations from Diogenes, Diderot, Rousseau, Kant, Freud, Irigaray, Foucault, Derrida, and others will offer an intellectual and historical context for the exhibition.

in Art News, vol.81, no. 1, January 1982 (review of John Moores Liverpool Exhibition), The Observer, 12 December 1982; «English Expressionism» (review of exhibition at Warwick Arts Trust) in The Observer, 13 May 1984; «Landscapes of the mind» in The Observer, 24 April 1995 Finch, Liz, «Painting is the head, hand and the heart», John Hoyland talks to Liz Finch, Ritz Newspaper Supplement: Inside Art, June 1984 Findlater, Richard, «A Briton's Contemporary Clusters Show a Touch of American Influence» in Detroit Free Press, 27 October 1974 Forge, Andrew, «Andrew Forge Looks at Paintings of Hoyland» in The Listener, July 1971 Fraser, Alison, «Solid areas of hot colour» in The Australian, 19 February 1980 Freke, David, «Massaging the Medium» in Arts Alive Merseyside, December 1982 Fuller, Peter, «Hoyland at the Serpentine» in Art Monthly, no. 31 Garras, Stephen, «Sketches for a Finished Work» in The Independent, 22 October 1986 Gosling, Nigel, «Visions off Bond Street» in The Observer, 17 May 1970 Graham - Dixon, Andrew, «Canvassing the abstract voters» in The Independent, 7 February 1987; «John Hoyland» in The Independent, 12 February 1987 Griffiths, John, «John Hoyland: Paintings 1967 - 1979» in The Tablet, 20 October 1979 Hall, Charles, «The Mastery of Living Colour» in The Times, 4 October 1995 Harrison, Charles, «Two by Two they Went into the Ark» in Art Monthly, November 1977 Hatton, Brian, «The John Moores at the Walker Art Gallery, Liverpool» in Artscribe, no. 38, December 1982 Heywood, Irene, «John Hoyland» in Montreal Gazette, 7 February 1970 Hilton, Tim, «Hoyland's tale of Hofmann» in The Guardian, 5 March 1988 Hoyland, John, «Painting 1979: A Crisis of Function» in London Magazine, April / May 1979; «Framing Words» in Evening Standard, 7 December 1989; «The Famous Grouse» in Arts Review, October 1995 Januszcak, Waldemar, «Felt through the Eye» in The Guardian, 16 October 1979; «Last Chance» in The Guardian, 18 May 1983; «Painter nets # 25,000 art prize» in The Guardian, 11 February 1987; «The Circles of Celebration» in The Guardian, 19 February 1987 Kennedy, R.C., «London Letter» in Art International, Lugano, 20 October 1971 Kent, Sarah, «The Modernist Despot Refuses to Die» in Time Out, 19 - 25, October 1979 Key, Philip, «This Way Up and It's Art; Key Previews the John Moores Exhibition» in Post, 25 November 1982 Kramer, Hilton, «Art: Vitality in the Pictorial Structure» in New York Times, 10 October 1970 Lehmann, Harry, «Hoyland Abstractions Boldly Pleasing As Ever» in Montreal Star, 30 March 1978 Lucie - Smith, Edward, «John Hoyland» in Sunday Times, 7 May 1970; «Waiting for the click...» in Evening Standard, 3 October 1979 Lynton, Norbert, «Hoyland», in The Guardian, [month] 1967 MacKenzie, Andrew, «A Colourful Champion of the Abstract» in Morning Telegraph, Sheffield, 9 October 1979 Mackenzie, Andrew, «Let's recognise city artist» in Morning Telegraph, Sheffield, 18 September 1978 Makin, Jeffrey, «Colour... it's the European Flair» in The Sun, 30 April 1980 Maloon, Terence, «Nothing succeeds like excess» in Time Out, September 1978 Marle, Judy, «Histories Unfolding» in The Guardian, May 1971 Martin, Barry, «John Hoyland and John Edwards» in Studio International, May / June 1975 McCullach, Alan, «Seeing it in Context» in The Herald, 22 May 1980 McEwen, John, «Hoyland and Law» in The Spectator, 15 November 1975; «Momentum» in The Spectator, 23 October 1976; «John Hoyland in mid-career» in Arts Canada, April 1977; «Abstraction» in The Spectator, 23 September 1978; «4 British Artists» in Artforum, March 1979; «Undercurrents» in The Spectator, 24 October 1981; «Flying Colours» in The Spectator, 4 December 1982; «John Hoyland, new paintings» in The Spectator, 21 May 1983; «The golden age of junk art: John McEwen on Christmas Exhibitions» in Sunday Times, 18 December 1984; «Britain's Best and Brightest» in Art in America, July 1987; «Landscapes of the Mind» in The Independent Magazine, 16 June 1990; «The Master Manipulator of Paint» in Sunday Telegraph, 1 October 1995; «Cool dude struts with his holster full of colours» in The Sunday Telegraph, 10 October 1999 McGrath, Sandra, «Hangovers and Gunfighters» in The Australian, 19 February 1980 McManus, Irene, «John Moores Competition» in The Guardian, 8 December 1982 Morris, Ann, «The Experts&raquExhibition), The Observer, 12 December 1982; «English Expressionism» (review of exhibition at Warwick Arts Trust) in The Observer, 13 May 1984; «Landscapes of the mind» in The Observer, 24 April 1995 Finch, Liz, «Painting is the head, hand and the heart», John Hoyland talks to Liz Finch, Ritz Newspaper Supplement: Inside Art, June 1984 Findlater, Richard, «A Briton's Contemporary Clusters Show a Touch of American Influence» in Detroit Free Press, 27 October 1974 Forge, Andrew, «Andrew Forge Looks at Paintings of Hoyland» in The Listener, July 1971 Fraser, Alison, «Solid areas of hot colour» in The Australian, 19 February 1980 Freke, David, «Massaging the Medium» in Arts Alive Merseyside, December 1982 Fuller, Peter, «Hoyland at the Serpentine» in Art Monthly, no. 31 Garras, Stephen, «Sketches for a Finished Work» in The Independent, 22 October 1986 Gosling, Nigel, «Visions off Bond Street» in The Observer, 17 May 1970 Graham - Dixon, Andrew, «Canvassing the abstract voters» in The Independent, 7 February 1987; «John Hoyland» in The Independent, 12 February 1987 Griffiths, John, «John Hoyland: Paintings 1967 - 1979» in The Tablet, 20 October 1979 Hall, Charles, «The Mastery of Living Colour» in The Times, 4 October 1995 Harrison, Charles, «Two by Two they Went into the Ark» in Art Monthly, November 1977 Hatton, Brian, «The John Moores at the Walker Art Gallery, Liverpool» in Artscribe, no. 38, December 1982 Heywood, Irene, «John Hoyland» in Montreal Gazette, 7 February 1970 Hilton, Tim, «Hoyland's tale of Hofmann» in The Guardian, 5 March 1988 Hoyland, John, «Painting 1979: A Crisis of Function» in London Magazine, April / May 1979; «Framing Words» in Evening Standard, 7 December 1989; «The Famous Grouse» in Arts Review, October 1995 Januszcak, Waldemar, «Felt through the Eye» in The Guardian, 16 October 1979; «Last Chance» in The Guardian, 18 May 1983; «Painter nets # 25,000 art prize» in The Guardian, 11 February 1987; «The Circles of Celebration» in The Guardian, 19 February 1987 Kennedy, R.C., «London Letter» in Art International, Lugano, 20 October 1971 Kent, Sarah, «The Modernist Despot Refuses to Die» in Time Out, 19 - 25, October 1979 Key, Philip, «This Way Up and It's Art; Key Previews the John Moores Exhibition» in Post, 25 November 1982 Kramer, Hilton, «Art: Vitality in the Pictorial Structure» in New York Times, 10 October 1970 Lehmann, Harry, «Hoyland Abstractions Boldly Pleasing As Ever» in Montreal Star, 30 March 1978 Lucie - Smith, Edward, «John Hoyland» in Sunday Times, 7 May 1970; «Waiting for the click...» in Evening Standard, 3 October 1979 Lynton, Norbert, «Hoyland», in The Guardian, [month] 1967 MacKenzie, Andrew, «A Colourful Champion of the Abstract» in Morning Telegraph, Sheffield, 9 October 1979 Mackenzie, Andrew, «Let's recognise city artist» in Morning Telegraph, Sheffield, 18 September 1978 Makin, Jeffrey, «Colour... it's the European Flair» in The Sun, 30 April 1980 Maloon, Terence, «Nothing succeeds like excess» in Time Out, September 1978 Marle, Judy, «Histories Unfolding» in The Guardian, May 1971 Martin, Barry, «John Hoyland and John Edwards» in Studio International, May / June 1975 McCullach, Alan, «Seeing it in Context» in The Herald, 22 May 1980 McEwen, John, «Hoyland and Law» in The Spectator, 15 November 1975; «Momentum» in The Spectator, 23 October 1976; «John Hoyland in mid-career» in Arts Canada, April 1977; «Abstraction» in The Spectator, 23 September 1978; «4 British Artists» in Artforum, March 1979; «Undercurrents» in The Spectator, 24 October 1981; «Flying Colours» in The Spectator, 4 December 1982; «John Hoyland, new paintings» in The Spectator, 21 May 1983; «The golden age of junk art: John McEwen on Christmas Exhibitions» in Sunday Times, 18 December 1984; «Britain's Best and Brightest» in Art in America, July 1987; «Landscapes of the Mind» in The Independent Magazine, 16 June 1990; «The Master Manipulator of Paint» in Sunday Telegraph, 1 October 1995; «Cool dude struts with his holster full of colours» in The Sunday Telegraph, 10 October 1999 McGrath, Sandra, «Hangovers and Gunfighters» in The Australian, 19 February 1980 McManus, Irene, «John Moores Competition» in The Guardian, 8 December 1982 Morris, Ann, «The Experts&raquexhibition at Warwick Arts Trust) in The Observer, 13 May 1984; «Landscapes of the mind» in The Observer, 24 April 1995 Finch, Liz, «Painting is the head, hand and the heart», John Hoyland talks to Liz Finch, Ritz Newspaper Supplement: Inside Art, June 1984 Findlater, Richard, «A Briton's Contemporary Clusters Show a Touch of American Influence» in Detroit Free Press, 27 October 1974 Forge, Andrew, «Andrew Forge Looks at Paintings of Hoyland» in The Listener, July 1971 Fraser, Alison, «Solid areas of hot colour» in The Australian, 19 February 1980 Freke, David, «Massaging the Medium» in Arts Alive Merseyside, December 1982 Fuller, Peter, «Hoyland at the Serpentine» in Art Monthly, no. 31 Garras, Stephen, «Sketches for a Finished Work» in The Independent, 22 October 1986 Gosling, Nigel, «Visions off Bond Street» in The Observer, 17 May 1970 Graham - Dixon, Andrew, «Canvassing the abstract voters» in The Independent, 7 February 1987; «John Hoyland» in The Independent, 12 February 1987 Griffiths, John, «John Hoyland: Paintings 1967 - 1979» in The Tablet, 20 October 1979 Hall, Charles, «The Mastery of Living Colour» in The Times, 4 October 1995 Harrison, Charles, «Two by Two they Went into the Ark» in Art Monthly, November 1977 Hatton, Brian, «The John Moores at the Walker Art Gallery, Liverpool» in Artscribe, no. 38, December 1982 Heywood, Irene, «John Hoyland» in Montreal Gazette, 7 February 1970 Hilton, Tim, «Hoyland's tale of Hofmann» in The Guardian, 5 March 1988 Hoyland, John, «Painting 1979: A Crisis of Function» in London Magazine, April / May 1979; «Framing Words» in Evening Standard, 7 December 1989; «The Famous Grouse» in Arts Review, October 1995 Januszcak, Waldemar, «Felt through the Eye» in The Guardian, 16 October 1979; «Last Chance» in The Guardian, 18 May 1983; «Painter nets # 25,000 art prize» in The Guardian, 11 February 1987; «The Circles of Celebration» in The Guardian, 19 February 1987 Kennedy, R.C., «London Letter» in Art International, Lugano, 20 October 1971 Kent, Sarah, «The Modernist Despot Refuses to Die» in Time Out, 19 - 25, October 1979 Key, Philip, «This Way Up and It's Art; Key Previews the John Moores Exhibition» in Post, 25 November 1982 Kramer, Hilton, «Art: Vitality in the Pictorial Structure» in New York Times, 10 October 1970 Lehmann, Harry, «Hoyland Abstractions Boldly Pleasing As Ever» in Montreal Star, 30 March 1978 Lucie - Smith, Edward, «John Hoyland» in Sunday Times, 7 May 1970; «Waiting for the click...» in Evening Standard, 3 October 1979 Lynton, Norbert, «Hoyland», in The Guardian, [month] 1967 MacKenzie, Andrew, «A Colourful Champion of the Abstract» in Morning Telegraph, Sheffield, 9 October 1979 Mackenzie, Andrew, «Let's recognise city artist» in Morning Telegraph, Sheffield, 18 September 1978 Makin, Jeffrey, «Colour... it's the European Flair» in The Sun, 30 April 1980 Maloon, Terence, «Nothing succeeds like excess» in Time Out, September 1978 Marle, Judy, «Histories Unfolding» in The Guardian, May 1971 Martin, Barry, «John Hoyland and John Edwards» in Studio International, May / June 1975 McCullach, Alan, «Seeing it in Context» in The Herald, 22 May 1980 McEwen, John, «Hoyland and Law» in The Spectator, 15 November 1975; «Momentum» in The Spectator, 23 October 1976; «John Hoyland in mid-career» in Arts Canada, April 1977; «Abstraction» in The Spectator, 23 September 1978; «4 British Artists» in Artforum, March 1979; «Undercurrents» in The Spectator, 24 October 1981; «Flying Colours» in The Spectator, 4 December 1982; «John Hoyland, new paintings» in The Spectator, 21 May 1983; «The golden age of junk art: John McEwen on Christmas Exhibitions» in Sunday Times, 18 December 1984; «Britain's Best and Brightest» in Art in America, July 1987; «Landscapes of the Mind» in The Independent Magazine, 16 June 1990; «The Master Manipulator of Paint» in Sunday Telegraph, 1 October 1995; «Cool dude struts with his holster full of colours» in The Sunday Telegraph, 10 October 1999 McGrath, Sandra, «Hangovers and Gunfighters» in The Australian, 19 February 1980 McManus, Irene, «John Moores Competition» in The Guardian, 8 December 1982 Morris, Ann, «The Experts&raquExhibition» in Post, 25 November 1982 Kramer, Hilton, «Art: Vitality in the Pictorial Structure» in New York Times, 10 October 1970 Lehmann, Harry, «Hoyland Abstractions Boldly Pleasing As Ever» in Montreal Star, 30 March 1978 Lucie - Smith, Edward, «John Hoyland» in Sunday Times, 7 May 1970; «Waiting for the click...» in Evening Standard, 3 October 1979 Lynton, Norbert, «Hoyland», in The Guardian, [month] 1967 MacKenzie, Andrew, «A Colourful Champion of the Abstract» in Morning Telegraph, Sheffield, 9 October 1979 Mackenzie, Andrew, «Let's recognise city artist» in Morning Telegraph, Sheffield, 18 September 1978 Makin, Jeffrey, «Colour... it's the European Flair» in The Sun, 30 April 1980 Maloon, Terence, «Nothing succeeds like excess» in Time Out, September 1978 Marle, Judy, «Histories Unfolding» in The Guardian, May 1971 Martin, Barry, «John Hoyland and John Edwards» in Studio International, May / June 1975 McCullach, Alan, «Seeing it in Context» in The Herald, 22 May 1980 McEwen, John, «Hoyland and Law» in The Spectator, 15 November 1975; «Momentum» in The Spectator, 23 October 1976; «John Hoyland in mid-career» in Arts Canada, April 1977; «Abstraction» in The Spectator, 23 September 1978; «4 British Artists» in Artforum, March 1979; «Undercurrents» in The Spectator, 24 October 1981; «Flying Colours» in The Spectator, 4 December 1982; «John Hoyland, new paintings» in The Spectator, 21 May 1983; «The golden age of junk art: John McEwen on Christmas Exhibitions» in Sunday Times, 18 December 1984; «Britain's Best and Brightest» in Art in America, July 1987; «Landscapes of the Mind» in The Independent Magazine, 16 June 1990; «The Master Manipulator of Paint» in Sunday Telegraph, 1 October 1995; «Cool dude struts with his holster full of colours» in The Sunday Telegraph, 10 October 1999 McGrath, Sandra, «Hangovers and Gunfighters» in The Australian, 19 February 1980 McManus, Irene, «John Moores Competition» in The Guardian, 8 December 1982 Morris, Ann, «The Experts» Expert.

In other words, the exhibition does not aim to track a historical development, but to identify precedents for the particular mix of instruction - based art making amongst close acquaintances or intimates that characterizes the more recent art in the show, and the spaces and contexts within which these works are set.

«Religion in the Context of Art,» Dempsey, Terrence, E. «Analogy, Meaning, and Religious Experiences in Contemporary Abstract Art,» Soltes, Ori Z. «Transformation: Jews, Christians, Religion and Art,» «Like a Prayer: A Jewish and Christian Presence in Contemporary Art,» exhibition catalogue, Tryon Center for Visual Art,» Charlotte, NC, pp. 6, 15, 25, 40, 54, 63, January 31st - June 1st, 2001.

Henning Schaper, the new director of the museum in Baden - Baden, explained it was very important that the exhibition stimulated an exchange of thought on current issues «such as our attitudes to the truth and respect for the truth in both an individual and a global context.»