Sentences with phrase «for numerous catalogues»

Dr. Kosinski has written for numerous catalogues, magazines and books.

He has written for numerous catalogues and magazines including: The Netherlands, for example (ed.)

Not exact matches

He also led an expansion of the brand's merchandising, licensing partnerships and product offerings to include numerous products co-branded with the Tabasco brand name, as well as a thriving catalogue business in licensed merchandise, including, for example, the popular Tabasco neckties.

For readers, we host a catalogue of free eBooks of numerous classics that have been professionally designed.

Rounding out the catalogue are numerous details and installation views, atmospheric color photographs of the artist's studio and materials, and an illustrated visual appendix showing a selection of Frecon's reference sources for the comprised works, including insightful commentary written by the artist.

Has written for Art in America, The New York Times, Smithsonian, Vanity Fair, as well as numerous books and catalogues; formerly arts commentator for PBS Newshour, chief art critic for Newsday / New York Newsday.

She has written widely on the subject for numerous journals and exhibition catalogues, and is the author of many artists» monographs.

He contributes articles to numerous publications and has written many catalogues for one ‑ person and group exhibitions.

SHOWS (selection) 2014 still on view: Kunst im Bau 5, installation in the former engineering workshops of the Isarthal Railway, Munich (curator Christoph Nicolaus) UNPAINTED media art fair, Munich, lab 3.0: positions of media art (curator Li Zhenhua) 2013 ikono On Air Festival on ikonotv, ikono Menasa and numerous locations in Berlin Villa Biesental, Berlin, K - Geist 100 Economy Pack Installation in the studio building of the City of Munich, K - Geist 100 Studio, (with Jutta Burkhardt) 2012 Satellite For Contemporary Art, Platform 3, Munich, Raw Material Artistic Spirit Repository For Knowledge And Art in the Syntopic Salon, Potsdam, Germany, a collaboration with the Berlin Brandenburg Academy of Science Biennale For One, KloHäuschen Munich, Germany German Consulate General, New York, Etsi Omnes Ego Non 2011 532 Gallery Thomas Jaeckel, New York, USA, The Shadows of the Fire in my Mind, (solo show) Regensburg New Art Society, Regensburg, Germany, kitchnapping goes shopping Kunstherberge Birkenau, Munich, Germany, The Driftwood Project (Feb — Mai) Salon, ISCP Gallery, Brooklyn, New York, USA Künstlerforum Bonn, Germany (solo show) 2010 Open Studios, International Studio & Curatorial Program (ISCP), Brooklyn, New York, USA Gallery Bezirk Oberbayern, Munich, Germany, Et In Arcadia Ego, (solo catalogue) 2009 Ebersberg Art Society, Ebersberg, Germany Brainwash, performance at St Luke's Church, Munich Art Meets Fashion, nurjungekunst.de, Prater Island, Munich 2008 The Medium of Drawing, Great Art Show, Haus der Kunst, Munich, Germany 2007 The Dark Side of Beauty, nurjungekunst.de, Munich, Germany real, sortiert, fingiert, Linhof - Gallery, Munich, Germany Centre for Contemporary Art, Plovdiv, Bulgaria Goethe Institute, Sofia, Bulgaria 2006 Landshut Art Society, Landshut 2005 Ebersberg Art Society, Ebersberg art / s / hopping, Munich, Germany, (solo show) 2004 lab 30, Laboratory for Experimental Video and Sound, Kulturhaus abraxas, Augsburg, GermFor Contemporary Art, Platform 3, Munich, Raw Material Artistic Spirit Repository For Knowledge And Art in the Syntopic Salon, Potsdam, Germany, a collaboration with the Berlin Brandenburg Academy of Science Biennale For One, KloHäuschen Munich, Germany German Consulate General, New York, Etsi Omnes Ego Non 2011 532 Gallery Thomas Jaeckel, New York, USA, The Shadows of the Fire in my Mind, (solo show) Regensburg New Art Society, Regensburg, Germany, kitchnapping goes shopping Kunstherberge Birkenau, Munich, Germany, The Driftwood Project (Feb — Mai) Salon, ISCP Gallery, Brooklyn, New York, USA Künstlerforum Bonn, Germany (solo show) 2010 Open Studios, International Studio & Curatorial Program (ISCP), Brooklyn, New York, USA Gallery Bezirk Oberbayern, Munich, Germany, Et In Arcadia Ego, (solo catalogue) 2009 Ebersberg Art Society, Ebersberg, Germany Brainwash, performance at St Luke's Church, Munich Art Meets Fashion, nurjungekunst.de, Prater Island, Munich 2008 The Medium of Drawing, Great Art Show, Haus der Kunst, Munich, Germany 2007 The Dark Side of Beauty, nurjungekunst.de, Munich, Germany real, sortiert, fingiert, Linhof - Gallery, Munich, Germany Centre for Contemporary Art, Plovdiv, Bulgaria Goethe Institute, Sofia, Bulgaria 2006 Landshut Art Society, Landshut 2005 Ebersberg Art Society, Ebersberg art / s / hopping, Munich, Germany, (solo show) 2004 lab 30, Laboratory for Experimental Video and Sound, Kulturhaus abraxas, Augsburg, GermFor Knowledge And Art in the Syntopic Salon, Potsdam, Germany, a collaboration with the Berlin Brandenburg Academy of Science Biennale For One, KloHäuschen Munich, Germany German Consulate General, New York, Etsi Omnes Ego Non 2011 532 Gallery Thomas Jaeckel, New York, USA, The Shadows of the Fire in my Mind, (solo show) Regensburg New Art Society, Regensburg, Germany, kitchnapping goes shopping Kunstherberge Birkenau, Munich, Germany, The Driftwood Project (Feb — Mai) Salon, ISCP Gallery, Brooklyn, New York, USA Künstlerforum Bonn, Germany (solo show) 2010 Open Studios, International Studio & Curatorial Program (ISCP), Brooklyn, New York, USA Gallery Bezirk Oberbayern, Munich, Germany, Et In Arcadia Ego, (solo catalogue) 2009 Ebersberg Art Society, Ebersberg, Germany Brainwash, performance at St Luke's Church, Munich Art Meets Fashion, nurjungekunst.de, Prater Island, Munich 2008 The Medium of Drawing, Great Art Show, Haus der Kunst, Munich, Germany 2007 The Dark Side of Beauty, nurjungekunst.de, Munich, Germany real, sortiert, fingiert, Linhof - Gallery, Munich, Germany Centre for Contemporary Art, Plovdiv, Bulgaria Goethe Institute, Sofia, Bulgaria 2006 Landshut Art Society, Landshut 2005 Ebersberg Art Society, Ebersberg art / s / hopping, Munich, Germany, (solo show) 2004 lab 30, Laboratory for Experimental Video and Sound, Kulturhaus abraxas, Augsburg, GermFor One, KloHäuschen Munich, Germany German Consulate General, New York, Etsi Omnes Ego Non 2011 532 Gallery Thomas Jaeckel, New York, USA, The Shadows of the Fire in my Mind, (solo show) Regensburg New Art Society, Regensburg, Germany, kitchnapping goes shopping Kunstherberge Birkenau, Munich, Germany, The Driftwood Project (Feb — Mai) Salon, ISCP Gallery, Brooklyn, New York, USA Künstlerforum Bonn, Germany (solo show) 2010 Open Studios, International Studio & Curatorial Program (ISCP), Brooklyn, New York, USA Gallery Bezirk Oberbayern, Munich, Germany, Et In Arcadia Ego, (solo catalogue) 2009 Ebersberg Art Society, Ebersberg, Germany Brainwash, performance at St Luke's Church, Munich Art Meets Fashion, nurjungekunst.de, Prater Island, Munich 2008 The Medium of Drawing, Great Art Show, Haus der Kunst, Munich, Germany 2007 The Dark Side of Beauty, nurjungekunst.de, Munich, Germany real, sortiert, fingiert, Linhof - Gallery, Munich, Germany Centre for Contemporary Art, Plovdiv, Bulgaria Goethe Institute, Sofia, Bulgaria 2006 Landshut Art Society, Landshut 2005 Ebersberg Art Society, Ebersberg art / s / hopping, Munich, Germany, (solo show) 2004 lab 30, Laboratory for Experimental Video and Sound, Kulturhaus abraxas, Augsburg, Germfor Contemporary Art, Plovdiv, Bulgaria Goethe Institute, Sofia, Bulgaria 2006 Landshut Art Society, Landshut 2005 Ebersberg Art Society, Ebersberg art / s / hopping, Munich, Germany, (solo show) 2004 lab 30, Laboratory for Experimental Video and Sound, Kulturhaus abraxas, Augsburg, Germfor Experimental Video and Sound, Kulturhaus abraxas, Augsburg, Germany

He is the author of numerous catalogues and essays on contemporary and modern art, and has been a grant panelist for numerous federal, state, city, and private foundations.

Molon has contributed to numerous publications, including: Art Review, Whitewall, Vitamin D: New Perspectives on Drawing; Art on Paper; Contemporary Magazine; Trans; and Tate Etc., as well as exhibition catalogues for Karen Kilimnik, Elmgreen & Dragset, and Muntean & Rosenblum.

In addition to essays for catalogues and books published in conjunction with the exhibitions she has curated, Katz - Freiman has written numerous articles, essays, and reviews addressing various issues in contemporary art.

She has written for Frieze, Sculpture, and Art Papers, as well as numerous exhibition catalogue essays, and she works as a staff writer at the University of Pennsylvania.

Known for discovering artists, representing masters, and placing important collections and archives into major public institutions, Pace / MacGill has presented some 200 exhibitions and published numerous catalogues on modern and contemporary photography.

In 1972 at the age of 27, he was the youngest artist ever to be offered a retrospective at The Tate, to which he responded with King for a Day a one - day exhibition which consisted of a catalogue listing 1000 proposals for sculpture, he has gone on to have numerous one man exhibitions at major museums including The ICA, Whitechapel and MOMA Oxford.

Her writings have appeared in numerous artists» catalogues and journals and she is editor of the serial publication The Artist as Curator for Mousse.

Over the last two decades she has contributed essays to numerous exhibition catalogues, and written extensively on contemporary art for ARTnews and ArtNexus magazines.

In the catalogue for the rest of the sale from various owners, there are numerous highlights.

He has written for numerous exhibition catalogues and has published in Art History, Nineteenth - Century Art Worldwide, and the Berkeley Review of Latin - American Studies.

Known for discovering artists, representinv masters, and placing important collections and archives into major public institutions, Pace / MacGill has presented some 200 exhibitions and published numerous catalogues on modern and contemporary photography.

He is responsible for numerous solo exhibitions and has written extensively for international exhibition catalogues and art journals.

He has written numerous articles, exhibition reviews, catalogue essays, lectured at many universities and art schools, curated many exhibitions, and edited several series for UMI Research Press and the Cambridge University Press.

In addition to curating numerous exhibitions on contemporary art, she has contributed critical writings to Art in America, Bomb, Trans, and Parkett and has edited a number of publications, including the symposium volume for SITAC 8 (Mexico City, 2011) and the exhibition catalogues Marta Minujín: MINUCODEs, Arturo Herrera: Les Noces (both Americas Society, New York, 2011) and The Art of Friendship: Xul Solar and Jorge Luis Borges, among many others.

He organized Canada's art exhibition for Expo 93 Korea, and is author of numerous books and catalogues for exhibitions held at many prestigious museums, such as the Tate Gallery, Russia's Hermitage Museum, the National Gallery of Canada, the Phoenix Art Museum and the Montreal Museum of Fine Arts, among others.

During this time she wrote numerous catalogue essays and curated exhibitions for a range of institutions, including «post naturam» (1998, co-curated by Magdalena Broska) and «Gebaute Horizonte» (Built horizons, 1999).

She has written for and edited numerous catalogues and artist monographs, including a forthcoming book on the choreographer Michael Clark, in addition to contributing to art publications including Artforum, Frieze, and Parkett.

Estévez has written for numerous exhibition catalogues and art publications, and has independently organized exhibitions in Belgium, France, Mexico, Spain, and the United States.

She wrote numerous reviews and features for Artforum, Art in America, Parkett, and Frieze, and was a contributor to exhibition catalogues on the work of Marlene Dumas, Josiah McElheny, and Bruce Nauman.

From 1994 to 2001, Plath worked as a critic for the art magazines Das Kunst - Bulletin (Zurich) and neue bildende Kunst (Berlin) and wrote numerous articles for catalogues and encyclopaedia contributions on the theme of contemporary art.

Molon has contributed to numerous publications including Art Review, Whitewall, Vitamin D: New Perspectives on Drawing; Art on Paper; Contemporary Magazine; Trans; and Tate: the Art Magazine, as well as exhibition catalogues for Karen Kilimnik, Elmgreen / Dragset, and Muntean / Rosenblum.

As a critic and essayist, he has written numerous catalogue essays and articles for periodicals.

At Chicago's Museum of Contemporary Art, Rooks curated numerous solo shows and survey exhibitions including Roy Lichtenstein: Interiors and H. C. Westermann for which he co-authored Westermann's catalogue raisonné.

She has been the author of numerous exhibition catalogues and brochures on contemporary art, including publications for the Albright - Knox Art Gallery, Buffalo, NY; the Neuberger Museum of Art, Purchase, NY; the Metropolitan Museum of Art, Knoedler, Marlborough and Pace Galleries, New York, NY.

She has written for numerous Whitney exhibition catalogues as well as contributed to Artforum and Art in America.

He has curated exhibitions for the past twenty - five years, including the 2015 Lyon Biennale, and has contributed essays to numerous exhibition catalogues and books on artists such as David Hammons, Paul McCarthy, Raymond Pettibon, Luc Tuymans, Mike Kelley, and Anthony Hernandez (Anthony Hernandez: Pictures for Rome, 2000).

She has served on the editorial board of Third Text magazine, and has been an art critic for the BBC World Service and for various international art magazines, as well as contributing to numerous catalogues and monographs.

Maloney has written for Artforum, ArtChronika, the Brooklyn Rail, and Meatpaper, as well as for numerous exhibition catalogues.

George Waterman's collection of 20th - century art documentation, currently based for the most part in Manhattan, consists of approximately 40,000 books and catalogues — growing at an estimated rate of 4,000 to 5,000 items a year — as well as numerous cartons tightly packed with gallery and museum invitations, cards, and ephemera.

Cameron has a considerable body of writing on contemporary art, and he has been Contributing Editor for Art Magazine, Art & Auction, Artforum, and Flash Art, in addition to writing for Parkett and trans and publishing exhibition catalogues and monographic texts on numerous artists.

She has written for numerous exhibition 3 catalogues and art publications and has independently organized exhibitions in Spain, France, Belgium, and the United States, as well as in Mexico.

He also has contributed to numerous exhibition catalogues for museum and art centers.

Darren has published numerous essays for exhibition catalogues and online, and is part of a small team curating the rolling programme of Tate collection displays.

A recipient of a 2011 Creative Capital Warhol Foundation Arts Writers Grant for Short - Form Writing, he is a Contributing Editor at ArtAsiaPacific and an Editorial Correspondent for Ibraaz.org, and his writing has appeared in numerous international publications and in catalogues for galleries and nonprofit institutions.

In addition to curating exhibitions she has written numerous essays, reviews and articles for various artist books, catalogues and other publications.

Among the numerous exhibition catalogues available are Barbara Haskell's Claes Oldenburg: Object into Monument (1971) for an exhibit at the Pasadena Art Museum and Oldenburg: Six Themes (1975) for an exhibit at the Walker Art Center in Minneapolis.

Over the course of its history, the gallery has mounted nearly one hundred solo and group exhibitions, published numerous catalogues, and created catalogues raisonnés of prints for artists including John McLaughlin and Robert Indiana.

Rounding out the catalogue are numerous details and installation views, atmospheric color photographs of the artist's studio and materials, and an illustrated visual appendix showing a selection of Frecon's reference sources for the works, including commentary by the artist.