He has organized curatorial workshops and seminars and published extensively in
international art magazines as well as museum catalogs and anthologies of contemporary art.
Indonesian curator Alia Swastika was recently celebrated by Apollo
International Art Magazine as a young arts professional to watch.
Not exact matches
Professionally involved in the
Arts & Crafts industry for over 25 years, she has authored over 50 «How To» craft books on a wide variety of subjects
as well
as feature columns in both national and
international magazines.
Birthing from Within Advanced Mentor Retreat with Virginia Bobro, 2017 Doula Trainings
International Doula Training with Jackie Davey, 2017 Creating a Culture of Breastfeeding in the NICU with BreastfeedLA, 2017 Diversity, Determinants, and Disparities in Maternal Mental Health, 2017 Hypnobirthing for Birth Professionals with Ellie Shea, 2017 (certified 2017) Working with Diverse Populations in Maternal and Child Health with Shafia Monroe, 2017 Changing the Paradigm: Social and Historical Trauma, 2017 Seeking Safety with Treatment Innovations, 2017 Holding Space for Pregnancy Loss with Amy Wright Glenn, 2017 Working with Childhood Trauma with Echo Parenting, 2017 Breastfeeding Full Circle with Dr. Jack Newman, 2016
Art of Sacred Postpartum and Mother Roasting with Sara Harkness, 2016 (certified 2017) Birth Story Medicine Part I with Pam England, 2016 Supporting Perinatal Mental Health
as a Doula with Sonia Nikore, 2016 Prenatal and Postpartum Nutrition with Elizabeth Kotek, 2016 Sacred Blood Mysteries Online Class with Sacred Living, 2016 Birthing from Within Introductory Workshop with Virginia Bobro, 2016 Supporting Breastfeeding
as a Doula with Kate Zachary, 2016 Homebirth Caesarean Workshop with Courtney Jarecki, 2016 Return to Zero Training for Supporting Fetal and Infant Loss with Kiley Hanish and Ivy Margulies, 2016 Acupressure for Pregnancy, Labor, Birth and Postpartum with Abigail Morgan, 2016 Becoming Dad Workshop with Darren Mattock, 2015 Diversity Roundtable for Birth Workers with Debra Langford, 2015 Babywearing for Doulas with Laura Brown, 2015 Co-leader, BabywearingLA, 2014 - 2016 DASC Director of Hospitality, 2014 - 2015 Co-leader, Silver Lake meeting of the
International Caesarean Awareness Network, 2013 CAPPA Lactation Educator Training with Christy Jo Hendricks, 2013 (certified 2015, recertified 2018) Acupressure for Labor and Birth with Abigail Morgan, 2013 Essential Oils for Doulas with BluJay Hawk, 2013 Babywearing for Birthworkers with Laura Brown, 2013 Rebozo Techniques with Angela Leon, 2013 Massage Techniques for Doulas with Jenna Denning, 2013 Breeches, Twins and VBACs with Stuart Fischbein, 2013 DASC co-Director of Development, 2012 - 2013 Co-founded Two Doulas Birth, 2012 Spinning Babies Training with Gail Tully, 2012 Featured
as the Doula Expert in LA Parent
Magazine, 2012 Advanced Doula Training with Penny Simkin, 2012 CAPPA Postpartum Doula Training with Darla Burns, 2012 (certified 2014, recertified 2017) Yoga Instructor, Yogavidala, Los Angeles, CA, 2011 - 2012 Billings Ovulation Method Teacher Training, 2011 CAPPA Labor Doula Training with Angie Whatley, 2010 (certified 2011, recertified 2014, recertified 2017) CAPPA Childbirth Educator Training with Angie Whatley, 2010 (certified 2011, recertified 2014, recertified 2017) Neonatal Resuscitation Program Workshop with Karen Strange, 2010 (certified 2010) Herbs and Homeopathics in the Care of Women and Infants, 2010 The Farm Midwifery Center Midwife Assistant Workshop with Ina May Gaskin, 2009 Birthing from Within Introductory Workshop with Pam England, 2009 Iyengar Yoga Introductory I Assessment passed, 2010 Yoga Instructor, Eastern Sun Yoga, Memphis, TN 2008 - 2011 Yoga Instructor, Evergreen Yoga Center, Memphis, TN, 2009 - 2011 Eastern Sun Yoga Iyengar Teacher Training with Lou Hoyt, 2008 - 2011 Audubon Yoga Iyengar Teacher Training with Karin O'Bannon, 2010 - 2011
During the meeting, Mrs. Cecile Guidote - Alvarez accepted to become honorary membership at Global Education
Magazine and she also made a speech about her experience
as Director of the Philippine Center of
International Theater Institute / Earthsavers UNESCO DREAM Center and Interdisciplinary Creative
Arts Therapeutic Emergency Response for the area affected by earthquake and super Typhoon Haiyan in Bohol,
as she had made in a previous interview with Global Education
Magazine.
Recently, he has placed articles in the Harvard Education Review / Focus Issue on
Arts Education (Spring 2013), in the special creativity focus issue of Educational Leadership (February 2013), in Symphony
magazine,
as well
as the creativity chapter in the Routledge
International Handbook on
Arts Education (2015), and a chapter in
Arts Integration in Education: Teachers and Teaching Artists
as Agents of Change edited by Gail Humphries Mardarosian and Yvonne Pelletier Lewis (2016).
Opening: «Noah Becker Presents Something» at Berry Campbell Noah Becker — artist, curator and founder of Whitehot
Magazine of Contemporary
Art (full disclosure, I also write for the publication)-- takes on the role
as the first guest curator at Berry Campbell with a show of 20
international artists exploring enigmatic narratives in their paintings, sculptures and works on paper.
Over the next decade, Judd worked
as a critic for ARTnews,
Arts Magazine, and
Art International; his subsequent theoretical writings on art and exhibition practices would prove to be some of his most important and lasting legaci
Art International; his subsequent theoretical writings on
art and exhibition practices would prove to be some of his most important and lasting legaci
art and exhibition practices would prove to be some of his most important and lasting legacies.
He is the recipient of prestigious awards such
as the
International Prize at the Venice Biennale in 1999 for the installation «Electric Earth» and the 2013 Smithsonian
Magazine American Ingenuity Award: Visual
Arts.
Morton's projects have appeared
as portfolios, articles, or in reviews in The New York Times, The New Yorker, New York
Magazine, New York Newsday, The New York Observer, The Atlantic Monthly, U.S. News & World Report, The Washington Post, Los Angeles Times, The San Francisco Chronicle, Village Voice,
Art Forum
International, Art in America, Aperture, DoubleTake, Exposure, Grand Street, Grey Room, and n +1; and international publications including The Times, Evening Standard, and Time Out (London), Die Zeit, Zeitmagazin, Der Spiegel, and Daidalos (Germany), Asahi (Tokyo), Politiken (Copenhagen), and Dagbladet (Norway), and the Central Asian Times
International,
Art in America, Aperture, DoubleTake, Exposure, Grand Street, Grey Room, and n +1; and
international publications including The Times, Evening Standard, and Time Out (London), Die Zeit, Zeitmagazin, Der Spiegel, and Daidalos (Germany), Asahi (Tokyo), Politiken (Copenhagen), and Dagbladet (Norway), and the Central Asian Times
international publications including The Times, Evening Standard, and Time Out (London), Die Zeit, Zeitmagazin, Der Spiegel, and Daidalos (Germany), Asahi (Tokyo), Politiken (Copenhagen), and Dagbladet (Norway), and the Central Asian Times (Kyrgyzstan).
As an art critic, Judd wrote for magazines such as ARTnews, Art Magazine, and Art Internationa
As an
art critic, Judd wrote for magazines such as ARTnews, Art Magazine, and Art Internation
art critic, Judd wrote for
magazines such
as ARTnews, Art Magazine, and Art Internationa
as ARTnews,
Art Magazine, and Art Internation
Art Magazine, and
Art Internation
Art International.
She has had 40 + solo and group exhibitions in galleries throughout the U.S. Cavanaugh's
art has been featured in publications such as The New York Times Magazine, New American Paintings no. 88, American Art Collector (cover artist), American Artist Watercolor, Watercolor Artist magazine, Southwest Art magazine, International Artist magazine, Art Calendar magazine (cover artist), and The Daniel Smith Art Supply Catalog
art has been featured in publications such
as The New York Times
Magazine, New American Paintings no. 88, American Art Collector (cover artist), American Artist Watercolor, Watercolor Artist magazine, Southwest Art magazine, International Artist magazine, Art Calendar magazine (cover artist), and The Daniel Smith Art Supply Ca
Magazine, New American Paintings no. 88, American
Art Collector (cover artist), American Artist Watercolor, Watercolor Artist magazine, Southwest Art magazine, International Artist magazine, Art Calendar magazine (cover artist), and The Daniel Smith Art Supply Catalog
Art Collector (cover artist), American Artist Watercolor, Watercolor Artist
magazine, Southwest Art magazine, International Artist magazine, Art Calendar magazine (cover artist), and The Daniel Smith Art Supply Ca
magazine, Southwest
Art magazine, International Artist magazine, Art Calendar magazine (cover artist), and The Daniel Smith Art Supply Catalog
Art magazine, International Artist magazine, Art Calendar magazine (cover artist), and The Daniel Smith Art Supply Ca
magazine,
International Artist
magazine, Art Calendar magazine (cover artist), and The Daniel Smith Art Supply Ca
magazine,
Art Calendar magazine (cover artist), and The Daniel Smith Art Supply Catalog
Art Calendar
magazine (cover artist), and The Daniel Smith Art Supply Ca
magazine (cover artist), and The Daniel Smith
Art Supply Catalog
Art Supply Catalogue.
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» Expe
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» Expe
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» Expe
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» Expe
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» Expe
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» Expe
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» Expe
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» Expe
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» Expe
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» Expe
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» Expe
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.
Reporters from Marie Claire, Beaux
Arts Magazine, Elle, Connaissance des
Arts, and Le Journal des
Arts, along with other important
international art journalists, were in attendance
as the historic exhibition was announced.
Working
as an
art critic for magazines such as Arts, Arts Magazine, and later Art International, Judd regularly contributed reviews of contemporary art exhibitions between 1959 and 1965, but continued to write throughout his life on a broad range of subjec
art critic for
magazines such
as Arts,
Arts Magazine, and later
Art International, Judd regularly contributed reviews of contemporary art exhibitions between 1959 and 1965, but continued to write throughout his life on a broad range of subjec
Art International, Judd regularly contributed reviews of contemporary
art exhibitions between 1959 and 1965, but continued to write throughout his life on a broad range of subjec
art exhibitions between 1959 and 1965, but continued to write throughout his life on a broad range of subjects.
What started out
as a London
art magazine has now become one of the leading
international contemporary
art fairs.
Beginning
as a young artist in São Paulo, she studied the Japanese
art magazine Bijutsu Techou that introduced her to international movements such as Conceptual Art, Minimalism, Land Art and Arte Pove
art magazine Bijutsu Techou that introduced her to
international movements such
as Conceptual
Art, Minimalism, Land Art and Arte Pove
Art, Minimalism, Land
Art and Arte Pove
Art and Arte Povera.
Art in General's new commission by 2014 artist Basim Magdy was on view in Oceans of Images: New Photography 2015 at the Museum of Modern Art; 2013 New Commissions Artist Meriç Algün Ringborg was featured in the 14th Istanbul Biennial; 2012 New Commissions Artist Mounira Al Solh participated in the 56th Venice Biennale; Performa Magazine called 2015 New Commissions Artist Lior Shvil's performance «powerful and dizzying»; Artnet News highlighted 2015 International Collaborations Artist, Donna Huanca as «One of the 50 Most Exciting European Artists Today»; and The Guardian named the exhibition by New Commissions Artist Marwa Arsanios as «one of the best American art shows of 2015.&raq
Art in General's new commission by 2014 artist Basim Magdy was on view in Oceans of Images: New Photography 2015 at the Museum of Modern
Art; 2013 New Commissions Artist Meriç Algün Ringborg was featured in the 14th Istanbul Biennial; 2012 New Commissions Artist Mounira Al Solh participated in the 56th Venice Biennale; Performa Magazine called 2015 New Commissions Artist Lior Shvil's performance «powerful and dizzying»; Artnet News highlighted 2015 International Collaborations Artist, Donna Huanca as «One of the 50 Most Exciting European Artists Today»; and The Guardian named the exhibition by New Commissions Artist Marwa Arsanios as «one of the best American art shows of 2015.&raq
Art; 2013 New Commissions Artist Meriç Algün Ringborg was featured in the 14th Istanbul Biennial; 2012 New Commissions Artist Mounira Al Solh participated in the 56th Venice Biennale; Performa
Magazine called 2015 New Commissions Artist Lior Shvil's performance «powerful and dizzying»; Artnet News highlighted 2015
International Collaborations Artist, Donna Huanca
as «One of the 50 Most Exciting European Artists Today»; and The Guardian named the exhibition by New Commissions Artist Marwa Arsanios
as «one of the best American
art shows of 2015.&raq
art shows of 2015.»
An
international contemporary
art magazine covering sculpture, painting, mixed media, and installation works,
as well
as architecture, music, and popular culture.
The
magazine highlighted key moments in the development of Modern
Art, such as the Carnegie International Exhibition in 1937, A.E. Gallatin's Museum of Living Art in 1938, the Museum of Modern Art's roundtable on Modern Art featuring 15 major art critics in 1958, The Downtown Gallery founded by Edith Halpert, and The Jewish Museum's Primary Structures exhibition in 19
Art, such
as the Carnegie
International Exhibition in 1937, A.E. Gallatin's Museum of Living
Art in 1938, the Museum of Modern Art's roundtable on Modern Art featuring 15 major art critics in 1958, The Downtown Gallery founded by Edith Halpert, and The Jewish Museum's Primary Structures exhibition in 19
Art in 1938, the Museum of Modern
Art's roundtable on Modern Art featuring 15 major art critics in 1958, The Downtown Gallery founded by Edith Halpert, and The Jewish Museum's Primary Structures exhibition in 19
Art's roundtable on Modern
Art featuring 15 major art critics in 1958, The Downtown Gallery founded by Edith Halpert, and The Jewish Museum's Primary Structures exhibition in 19
Art featuring 15 major
art critics in 1958, The Downtown Gallery founded by Edith Halpert, and The Jewish Museum's Primary Structures exhibition in 19
art critics in 1958, The Downtown Gallery founded by Edith Halpert, and The Jewish Museum's Primary Structures exhibition in 1967.
Twice winner of the College
Art Association award for distinguished art criticism, Rose has been a contributing editor to Art International, Artforum, Arts, and Art in America as well as an art critic for New York Magazi
Art Association award for distinguished
art criticism, Rose has been a contributing editor to Art International, Artforum, Arts, and Art in America as well as an art critic for New York Magazi
art criticism, Rose has been a contributing editor to
Art International, Artforum, Arts, and Art in America as well as an art critic for New York Magazi
Art International, Artforum,
Arts, and
Art in America as well as an art critic for New York Magazi
Art in America
as well
as an
art critic for New York Magazi
art critic for New York
Magazine.
Castellana's work is included in numerous collections and his exhibitions have been reviewed in local NYC papers
as well
as the
international, multi-lingual
art magazine, Next, published in Rome, Italy.
Working
as an
art critic for the magazines Arts, Arts Magazine, and later Art International, Judd regularly contributed reviews of contemporary art exhibitions between 1959 and 1965, but continued to write throughout his life on a broad range of subjec
art critic for the
magazines Arts,
Arts Magazine, and later
Art International, Judd regularly contributed reviews of contemporary art exhibitions between 1959 and 1965, but continued to write throughout his life on a broad range of subjec
Art International, Judd regularly contributed reviews of contemporary
art exhibitions between 1959 and 1965, but continued to write throughout his life on a broad range of subjec
art exhibitions between 1959 and 1965, but continued to write throughout his life on a broad range of subjects.
Donald Judd began writing on
art and related matters in 1959 when he accepted a job as an art critic for the magazines Arts, Arts Magazine, and later Art Internation
art and related matters in 1959 when he accepted a job
as an
art critic for the magazines Arts, Arts Magazine, and later Art Internation
art critic for the
magazines Arts,
Arts Magazine, and later
Art Internation
Art International.
As an
art critic, Marc - Olivier Wahler regularly writes on contemporary
art and its theoretical problematic in
international magazines, academic books, and exhibition catalogues.
Laura was previously Programme Coordinator at Iniva (Institute of
International Visual Arts) in London and worked in a range of arts organisations including n.paradoxa: international feminist art journal, frieze magazine, Margaret Lawrence Gallery (Victorian College of the Arts, University of Melbourne) and Anna Pappas Gallery, and as an intern at the Elizabeth A. Sackler Feminist Art Centre (Brooklyn Museum), MOMA PS1 and the National Gallery
International Visual
Arts) in London and worked in a range of arts organisations including n.paradoxa: international feminist art journal, frieze magazine, Margaret Lawrence Gallery (Victorian College of the Arts, University of Melbourne) and Anna Pappas Gallery, and as an intern at the Elizabeth A. Sackler Feminist Art Centre (Brooklyn Museum), MOMA PS1 and the National Gallery of Victo
Arts) in London and worked in a range of
arts organisations including n.paradoxa: international feminist art journal, frieze magazine, Margaret Lawrence Gallery (Victorian College of the Arts, University of Melbourne) and Anna Pappas Gallery, and as an intern at the Elizabeth A. Sackler Feminist Art Centre (Brooklyn Museum), MOMA PS1 and the National Gallery of Victo
arts organisations including n.paradoxa:
international feminist art journal, frieze magazine, Margaret Lawrence Gallery (Victorian College of the Arts, University of Melbourne) and Anna Pappas Gallery, and as an intern at the Elizabeth A. Sackler Feminist Art Centre (Brooklyn Museum), MOMA PS1 and the National Gallery
international feminist
art journal, frieze magazine, Margaret Lawrence Gallery (Victorian College of the Arts, University of Melbourne) and Anna Pappas Gallery, and as an intern at the Elizabeth A. Sackler Feminist Art Centre (Brooklyn Museum), MOMA PS1 and the National Gallery of Victor
art journal, frieze
magazine, Margaret Lawrence Gallery (Victorian College of the
Arts, University of Melbourne) and Anna Pappas Gallery, and as an intern at the Elizabeth A. Sackler Feminist Art Centre (Brooklyn Museum), MOMA PS1 and the National Gallery of Victo
Arts, University of Melbourne) and Anna Pappas Gallery, and
as an intern at the Elizabeth A. Sackler Feminist
Art Centre (Brooklyn Museum), MOMA PS1 and the National Gallery of Victor
Art Centre (Brooklyn Museum), MOMA PS1 and the National Gallery of Victoria.
Over the next decade, Judd worked
as a critic for artnews,
Arts Magazine, and
Art International; his subsequent theoretical writings on art and exhibition practices would prove to be some of his most important and lasting legaci
Art International; his subsequent theoretical writings on
art and exhibition practices would prove to be some of his most important and lasting legaci
art and exhibition practices would prove to be some of his most important and lasting legacies.
2009 Beall, Dickson, SLAM for the holidays, West End World, 23 December Dawson, Jessica, Yinka Shonibare, skewing history with his images, The Washington Post, 20 November Judkis, Maura, Yinka Shonibare MBE: «
As Artists, We are Liars», Washington City Paper, 13 November Geldard, Rebecca, Time Out, 6 November Lewis, Sarah, Yinka Shonibare: Brooklyn Museum, New York, Artforum, October Cole, Teju, Shonibare's fantasies of empowerment, 234 next.com, 10 July Hoffman, Barbara, Headless Bods, New York Post, 10 July Genocchio, Benjamin, The Rich Were Different (and Perhaps Still Are), The New York Times, 10 July Kazakine, Katya, Adam Smith, Ocelots Channel History in Artist's Textile World, Bloomberg.com, 8 July Lacayo, Richard, Decaptivating, TIME
Magazine, 6 July Rosenberg, Karen, Fashions of a Postcolonial Provocateur, The New York Times, 3 July McLaughlin, Mike, Show blows away
art world, The Brooklyn Paper, 2 July Olowu, Duro, Style.com/Vogue, July McCartney, Alison, Class, Culture and Identity in Party Time, NJ.com, 26 June Tambay, Defining Blackness Series, Shadow and Act, 21 June Sontag, Deborah, Challenging cultural stereotypes, International Herald Tribune, 19 June Sontag, Deborah, Headless Bodies from Bottomless Imagination, The New York Times, 17 June Bergman, Amerie, Yinka Shonibare MBE @ Museum of Contemporary Art, White Hot, June Later, Paul, Postcolonial Hybrid fuses art and politics, Flavor Pill, Summer How schoolchildren shaped the new Trafalgar Square plinth, The Times, 22 May Knight, Yinka Shonibare at Santa Barbara Museum of Art, Christopher, The LA Times 6 April Hunter, Alice, Encountering Excess, Art of England, Issue 56, April Jeno, Heather, Hip, British - Born Artist's Show Ushers in a New Era at SBMA, The Santa Barbara Independent, 31 March Pote, Mariana, African A
art world, The Brooklyn Paper, 2 July Olowu, Duro, Style.com/Vogue, July McCartney, Alison, Class, Culture and Identity in Party Time, NJ.com, 26 June Tambay, Defining Blackness Series, Shadow and Act, 21 June Sontag, Deborah, Challenging cultural stereotypes,
International Herald Tribune, 19 June Sontag, Deborah, Headless Bodies from Bottomless Imagination, The New York Times, 17 June Bergman, Amerie, Yinka Shonibare MBE @ Museum of Contemporary
Art, White Hot, June Later, Paul, Postcolonial Hybrid fuses art and politics, Flavor Pill, Summer How schoolchildren shaped the new Trafalgar Square plinth, The Times, 22 May Knight, Yinka Shonibare at Santa Barbara Museum of Art, Christopher, The LA Times 6 April Hunter, Alice, Encountering Excess, Art of England, Issue 56, April Jeno, Heather, Hip, British - Born Artist's Show Ushers in a New Era at SBMA, The Santa Barbara Independent, 31 March Pote, Mariana, African A
Art, White Hot, June Later, Paul, Postcolonial Hybrid fuses
art and politics, Flavor Pill, Summer How schoolchildren shaped the new Trafalgar Square plinth, The Times, 22 May Knight, Yinka Shonibare at Santa Barbara Museum of Art, Christopher, The LA Times 6 April Hunter, Alice, Encountering Excess, Art of England, Issue 56, April Jeno, Heather, Hip, British - Born Artist's Show Ushers in a New Era at SBMA, The Santa Barbara Independent, 31 March Pote, Mariana, African A
art and politics, Flavor Pill, Summer How schoolchildren shaped the new Trafalgar Square plinth, The Times, 22 May Knight, Yinka Shonibare at Santa Barbara Museum of
Art, Christopher, The LA Times 6 April Hunter, Alice, Encountering Excess, Art of England, Issue 56, April Jeno, Heather, Hip, British - Born Artist's Show Ushers in a New Era at SBMA, The Santa Barbara Independent, 31 March Pote, Mariana, African A
Art, Christopher, The LA Times 6 April Hunter, Alice, Encountering Excess,
Art of England, Issue 56, April Jeno, Heather, Hip, British - Born Artist's Show Ushers in a New Era at SBMA, The Santa Barbara Independent, 31 March Pote, Mariana, African A
Art of England, Issue 56, April Jeno, Heather, Hip, British - Born Artist's Show Ushers in a New Era at SBMA, The Santa Barbara Independent, 31 March Pote, Mariana, African
ArtArt?
Now in its 11th year,
Art + Auction magazine's «Power 100» list seldom surprises with its ranking of international art world machers, which is conveniently released just as those on the list — and those who wish they were — converge on Mia
Art + Auction
magazine's «Power 100» list seldom surprises with its ranking of
international art world machers, which is conveniently released just as those on the list — and those who wish they were — converge on Mia
art world machers, which is conveniently released just
as those on the list — and those who wish they were — converge on Miami.
Dagley is a member of American Abstract Artists and his work has been reviewed in publications, such
as Artforum,
Art in America, Flash
Art International, The Brooklyn Rail, Artnet
Magazine, and Time Out New York.
After attending the School for the Contemporary
Arts at Simon Fraser University, Mark began working in Vancouver
as an advertising
art director, and went on to win numerous
international awards for creative excellence, including Cannes, The New York One Show, Communications
Arts Magazine, and Archive
Magazine.
Between 1959 and 1965, he supported himself by regularly writing reviews of contemporary exhibitions for
magazines such
as Arts,
Arts Magazine, and
Art International, but actually continued to write throughout his life on a broad range of subjects.
He also wrote reviews for
magazines such
as Das Kunstwerk and
Art International.
Twice winner of the College
Art Association award for distinguished Art Criticism, Rose has been a contributing editor to Art International, Artforum, Arts, and Art in America as well as an art critic for New York Magazi
Art Association award for distinguished
Art Criticism, Rose has been a contributing editor to Art International, Artforum, Arts, and Art in America as well as an art critic for New York Magazi
Art Criticism, Rose has been a contributing editor to
Art International, Artforum, Arts, and Art in America as well as an art critic for New York Magazi
Art International, Artforum,
Arts, and
Art in America as well as an art critic for New York Magazi
Art in America
as well
as an
art critic for New York Magazi
art critic for New York
Magazine.
«A bomb from the blue,» declared the first article in the American
Art News,
as the
magazine was then called, referring to the
International Exhibition of Modern
Art, a 1913 show organized by American artists desperate for public recognition.
Together with the gallery that,
as its publisher, shared offices with it until 1998, the
magazine established a significant dialogue with the
international art scene, thanks to a focus expanded from photography into other artistic practices, including film and video.
Linda Yablonsky is a freelance critic and journalist who regularly contributes to The New York Times Style
Magazine, W, Elle and Wallpaper
magazines,
as well
as to The
Art Newspaper and Artforum.com, for which she writes a popular Scene and Herd column about the international art wor
Art Newspaper and Artforum.com, for which she writes a popular Scene and Herd column about the
international art wor
art world.
Her
arts / culture reviews and essays have been published in online national and
international magazines such
as Letras Libres, Culture Strike, Los Angeles Review of Books, and Tropics of Meta.
In addition to her fine
art photography, Tese's editorial work has been included in publications such
as the New York Times, Whitewall
Magazine, CREEM and
international editions of Vogue, Harper's Bazaar, Esquire and others.
He has also been an important and prolific writer on
art, serving as an associate editor for Artforum and a regular contributor to Arts Magazine and Art Internation
art, serving
as an associate editor for Artforum and a regular contributor to
Arts Magazine and
Art Internation
Art International.
His
art has been featured in numerous national and
international publications such
as Vogue, Spin, Juxtapoz and Ocean Drive
magazines.
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.
The first part, by the Judd Foundation, will be a republication, in March, of «Donald Judd: Complete Writings 1959 — 1975,» (often known, because of its original cover,
as «the Yellow Book,») which collected some of his seminal essays and his early gallery reviews for
magazines like «
Arts,» «
Arts Magazine,» and «
Art International.»
1988 Group Show, Marian Goodman Gallery, New York, US Broken Music - Artists» Recordings, DAAD Galerie, Berlin, DE Saga 88, Eric Linard Editions, Grand Palais, Paris, FR Gordon Matta - Clark and Friends, Galerie Lelong, New York, US Forum, Hamburg
Art Fair, Hamburg, DE A Bid for Human Rights, Brendon Walter Gallery, Santa Monica, California, US
Art in Bookform / Book in Artform, Presented by Zona Archives at ACRL / Weiss Conference, Firenze, IT
As Far as the Eye Can See, Marian Goodman Gallery, New York, US Delfryd Celf in London, Victoria Miro Gallery, London, UK Der Hund in Mir / The Dog Within, Galerie Hubert Winter, Vienna, AT Collection du Musee Van Abbe d'Eindhoven, premiere partie, Musee des Beaux Arts de Nimes, Nimes, FR Amsterdam Koopt Kunst, Museum Fodor, Amsterdam, NL Modes of Address: Language in Art Since 1960, Whitney Museum (downtown), New York, US The Turning Point - Art and Politics in 1968, Cleveland Center for Contemporary Art, Cleveland, Ohio, US; Lehman College Art Gallery, Bronx, New York, US Collection du Musee Van Abbe d'Eindhoven, Deuxieme Partie, Musee des Beaux Arts de Nimes, Nimes, FR Le Marche comme Objet, Picard Surgeles, Paris, FR Art Conceptuel I, Musée d'art contemporain, Bordeaux, FR From the Collection of Dorothy and Herbert Vogel, Arnot Art Museum, Chicago, Illinois, US Skulpturen Republik, Kunstraum Wien, Vienna, AT; John Hansard Gallery, The University of Southhampton, Southhampton, US; Third Eye Centre, Glasgow, UK Ships Sail at Night: Art and the Image of Sea, Maritime Museum, Rotterdam, NL Concept Art, Stalke Galleri, Copenhagen, DK; Brigitte March Galerie, Stuttgart, DE; L'Espace des Arts, Chalon sur Saone, FR Balkon mit Facher - 25 Jahre Berliner Kunstlerprogramme des DAAD, Akademie der Kunste, Berlin, DE Symmetry» 88, International Etalageproject, Middelburg, NL Tellus # 22 (Audio Visual Issue II), Audio Cassette magazine, New York,
As Far
as the Eye Can See, Marian Goodman Gallery, New York, US Delfryd Celf in London, Victoria Miro Gallery, London, UK Der Hund in Mir / The Dog Within, Galerie Hubert Winter, Vienna, AT Collection du Musee Van Abbe d'Eindhoven, premiere partie, Musee des Beaux Arts de Nimes, Nimes, FR Amsterdam Koopt Kunst, Museum Fodor, Amsterdam, NL Modes of Address: Language in Art Since 1960, Whitney Museum (downtown), New York, US The Turning Point - Art and Politics in 1968, Cleveland Center for Contemporary Art, Cleveland, Ohio, US; Lehman College Art Gallery, Bronx, New York, US Collection du Musee Van Abbe d'Eindhoven, Deuxieme Partie, Musee des Beaux Arts de Nimes, Nimes, FR Le Marche comme Objet, Picard Surgeles, Paris, FR Art Conceptuel I, Musée d'art contemporain, Bordeaux, FR From the Collection of Dorothy and Herbert Vogel, Arnot Art Museum, Chicago, Illinois, US Skulpturen Republik, Kunstraum Wien, Vienna, AT; John Hansard Gallery, The University of Southhampton, Southhampton, US; Third Eye Centre, Glasgow, UK Ships Sail at Night: Art and the Image of Sea, Maritime Museum, Rotterdam, NL Concept Art, Stalke Galleri, Copenhagen, DK; Brigitte March Galerie, Stuttgart, DE; L'Espace des Arts, Chalon sur Saone, FR Balkon mit Facher - 25 Jahre Berliner Kunstlerprogramme des DAAD, Akademie der Kunste, Berlin, DE Symmetry» 88, International Etalageproject, Middelburg, NL Tellus # 22 (Audio Visual Issue II), Audio Cassette magazine, New York,
as the Eye Can See, Marian Goodman Gallery, New York, US Delfryd Celf in London, Victoria Miro Gallery, London, UK Der Hund in Mir / The Dog Within, Galerie Hubert Winter, Vienna, AT Collection du Musee Van Abbe d'Eindhoven, premiere partie, Musee des Beaux
Arts de Nimes, Nimes, FR Amsterdam Koopt Kunst, Museum Fodor, Amsterdam, NL Modes of Address: Language in
Art Since 1960, Whitney Museum (downtown), New York, US The Turning Point -
Art and Politics in 1968, Cleveland Center for Contemporary
Art, Cleveland, Ohio, US; Lehman College
Art Gallery, Bronx, New York, US Collection du Musee Van Abbe d'Eindhoven, Deuxieme Partie, Musee des Beaux
Arts de Nimes, Nimes, FR Le Marche comme Objet, Picard Surgeles, Paris, FR
Art Conceptuel I, Musée d'
art contemporain, Bordeaux, FR From the Collection of Dorothy and Herbert Vogel, Arnot
Art Museum, Chicago, Illinois, US Skulpturen Republik, Kunstraum Wien, Vienna, AT; John Hansard Gallery, The University of Southhampton, Southhampton, US; Third Eye Centre, Glasgow, UK Ships Sail at Night:
Art and the Image of Sea, Maritime Museum, Rotterdam, NL Concept
Art, Stalke Galleri, Copenhagen, DK; Brigitte March Galerie, Stuttgart, DE; L'Espace des
Arts, Chalon sur Saone, FR Balkon mit Facher - 25 Jahre Berliner Kunstlerprogramme des DAAD, Akademie der Kunste, Berlin, DE Symmetry» 88,
International Etalageproject, Middelburg, NL Tellus # 22 (Audio Visual Issue II), Audio Cassette
magazine, New York, US
Independent curator, she is contributor of
magazines such
as Mousse, Domus, and L'Officiel
Art Italia and worked for several
international exhibitions.
Since then, his work has been shown extensively in
international photography
magazines, gallery exhibitions,
as well
as presented
as a solo program at the Museum of
Arts and Design (NYC) in 2011 and NYC Makers: The MAD Biennial in 2014.
Wei has also written for Asian
Art News,
Art Papers, Sculpture
Magazine, Tema Celeste, Flash
Art,
Art Press and
Art and Auction, among others, and has frequently reported on
international biennials such
as those of Sydney, Cairo, Athens and Reykjavik.
Dagley is a member of American Abstract Artists and his work has been reviewed in publications, such
as The Brooklyn Rail, Artforum,
Art in America, Flash
Art International, Artnet
Magazine, and Time Out New York.
Ms. Guerrero's writing has appeared in exhibition catalogues and
art journals such as the College Art Association's caa.reviews, ArtNexus magazine, Caribbean Intransit arts journal, Gulf Coast: A Journal of Literature and Fine Arts, Interventions: International Journal of Postcolonial Studies, and Diálo
art journals such
as the College
Art Association's caa.reviews, ArtNexus magazine, Caribbean Intransit arts journal, Gulf Coast: A Journal of Literature and Fine Arts, Interventions: International Journal of Postcolonial Studies, and Diálo
Art Association's caa.reviews, ArtNexus
magazine, Caribbean Intransit
arts journal, Gulf Coast: A Journal of Literature and Fine Arts, Interventions: International Journal of Postcolonial Studies, and Diál
arts journal, Gulf Coast: A Journal of Literature and Fine
Arts, Interventions: International Journal of Postcolonial Studies, and Diál
Arts, Interventions:
International Journal of Postcolonial Studies, and Diálogo.
He subsequently published the work in the
magazine Studio
International, which he then tried to get the Daily Mirror to republish
as an
art piece.