Sentences with phrase «into contemporary painting»

Nonetheless, it was a formally enthralling work by an artist who has resurrected abstract surrealism's formidable vocabularies into contemporary painting.

I'm an Australian painter and was once asked by an academic «where do you fit into contemporary painting practice».

Drawing from the lushness of nineteenth - century European painting traditions and imbuing them with local specificity, ethereal qualities, and distinctly Iranian elements, these paintings reinvigorate representational art while simultaneously ushering beauty back into contemporary painting.

Nor was either included in last season's MoMA foray into contemporary painting, though they are the two names most often cited as artists whose work should have been included.

We are a group of dedicated artists carrying the tradition of beauty into contemporary painting.

Not exact matches

teenage bedroom designs pinterest design ideas on a budget best home cupboard images, bedroom designs ideas modern bed images custom ultra interior design with best, bedroom wall designs pinterest minecraft real life top trends making waves in design ideas, bedroom decorating ideas how to design a master designs 2017 modern small pinterest for guys, bedroom designs for teenage girls bedrooms that turn this into your favorite room of the house cupboard images decorations minecraft, bedroom designs minecraft pe small pinterest appealing awesome contemporary bedrooms design ideas best for two sisters, cool bedroom designs for guys best interior design ideas on apartment paint small, bedroom designs images 2017 best bedrooms and interior design ideas for minecraft real life wall pinterest, download perfect room design for home bedroom designs minecraft images india cool, bedroom almirah designs images modern design trends and stylish room decorating ideas for girls.

• Amsterdam: Explore the canals by night in a saloon boat • Athens: View the Parthenon from the Grande Bretagne Hotel rooftop • Barcelona: Go on a tapas crawl • Belle - Île, France: Enjoy oysters at Le Bistrot du Port • Berlin: Tap into the underground nightlife scene • Budapest: Stay at the restored Four Seasons Gresham Palace • Copenhagen: Browse contemporary design shops • Florence: Tour the Vasari Corridor at the Uffizi • Galway, Ireland: Pair oysters with Guinness at Moran's Oyster Cottage • Iceland: Marvel at the Northern Lights • Isle of Skye, Scotland: Go for whisky tastings at Tallisker distillery • Istanbul: Wander the Grand Bazaar • London: Start with breakfast at the cabmen's shelter on Pont Street • Madrid: Visit the Black Paintings room at the Museo del Prado • Moscow: Tour the Diamond Vaults within the Kremlin • Paris: Snack on bread from Du Pain et Des Idees • Peloponnese, Greece: Stay at the ultra-luxe Amanzoe • Prague: Explore Prague's historic center • Rome: Buy a gelato at San Crispino • Santorini, Greece: Lounge at Red Beach • Sicily: See the mosaics at Villa Romana del Casale • Siena, Italy: Attend the medieval - era Palio horse race • Spain: Take an architecture - themed drive from Bilbao to Granada • Stockholm: Visit the Vasa Museum • Venice: Shop for glassware at L'Angolo del Passat • Versailles, France: Explore Andre Le Notre's gardens at Versailles • Vienna: Attend a concert at the Musikverein

Throughout the villas, vibrant contemporary paintings, installations and murals by Indonesian artists speak to the local art scene and breathe life into the minimalist interiors.

The formal dining area extends the radiant color palette into its seating, and right across to the vibrant contemporary painting of an indigenous child.

Yau writes: «There are few contemporary artists who can make a convincing narrative painting, one that doesn't devolve into a mere story.

When «Radical Presence» opened at the Contemporary Arts Museum, Houston, last year, it also included five works from Piper's 1975 series I am the Locus, collaged and painted Polaroids on which images of Piper as the Mythic Being are inserted into scenes of a crowded street.

Brodsky's style channels the heightened realism of 19th century landscape painters; whereas the historical paintings were created on enormous canvases that echoed the vast American landscape, Brodsky's contemporary take condenses the visual impact into a token - sized work that fits in the palm of a hand.

Walk into the Contemporary Art Museum today and you will be greeted with brick paintings, light boxes, laptop sculptures, and a 4 - by - 4 chocolate disco ball.

, Minneapolis, MN 2016 From the Belly of Our Being: art by and about Native creation, Oklahoma State University Museum of Art 2016 Into Quarterly, Minneapolis issue 2014 Perspectives and Parallels: Expanding Interpretive Foundations with American Indian Curators and Writers, Tweed Museum of Art, University of Minnesota Duluth 2014 The Open Studios Press, New American Paintings, Issue No. 113, Midwest 2014 Taté Walker, Native Peoples, Urban Arts Scene, August 2014 issue 2014 Dyani White Hawk and Joe D. Horse Capture, Mni Sota: Reflections of Time and Place, All My Relations Arts and Afton Press 2013 Michele Corriel, Western Art and Architecture, Ones to Watch: Spotlighting the Works of Dyani White Hawk, February / March Issue 2012 Suzanne Deats and Kitty Leaken, Contemporary Native American Artists.

With the influx of art and artists into London for Frieze week, three leading contemporary artists analyse and discuss their work in relation to contemporary painting.

David & Schweitzer Contemporary Annex will present a group exhibition, «Painting into Sculpture»; Honey Ramka's group exhibition, «Depth of Surface,» highlights contemporary ceramics and the transformative propertContemporary Annex will present a group exhibition, «Painting into Sculpture»; Honey Ramka's group exhibition, «Depth of Surface,» highlights contemporary ceramics and the transformative propertcontemporary ceramics and the transformative properties of clay.

Many of Schnabel's signature tropes — the use of dropcloths and soiled canvases, the incorporation of studio debris and other «imperfections» into the body of the work, and his re-imagining of found materials — have become celebrated gestures in contemporary painting.

In October 2012, to coincide with the opening of Marlborough Contemporary, a major exhibition of work by Frank Auerbach, Next Door, featured for the first time more than forty preparatory drawings to accompany the new paintings, offering a unique insight into the artist's working methods.

Earlier on, I was separating those two ideas in my mind and in this new dialogue with the work and coupled with the contemporary moment where I feel like my body is forcibly reinscribed back into the paintings; it just had to claim that space.

One of the most influential painters of twentieth - century China, Zhang Daqian is said to have transformed traditional Chinese painting into a contemporary form.

The opportunity to develop additional programming as the result of the Tooker loan allows PAFA to pursue a symposium on a group of artists, including Peter Blume, George Tooker, Ivan Albright, and other Americans who used a realist method to invent their own worlds by transforming the symbolic language of Old Master painting into a contemporary idiom.

Beds in History and Contemporary Art focuses on the historical as well as iconographic significance of the depiction of the bed and will include and juxtapose paintings, sculptures, drawings, photos, and video works spanning from old masters to present - day artists, subdivided into themes and arranged according to visual associations.

Established in 1960 as a way to showcase the majestic paintings from the Hudson River School movement, Storm King Art Center has evolved into one of today's leading sculpture parks, with more than 100 contemporary works dotting a dramatic landscape of pastoral hills, breathtaking vistas, and tranquil ponds.

As Jeffrey Deitch, the erstwhile director of Los Angeles» Museum of Contemporary Art (MOCA), put it, Bradford's work isn't «art about art; it's art about life... He brings the daily struggles of people left behind by the American economy into his paintings».

-- into their checklists, including Reality Check: Representational Paintings from the Modern and Contemporary Collection of the MFAH, Houston Collects: African American Art (MFAH): Second Nature: Contemporary Landscapes From the MFAH Collection, NeoHooDoo: Art for a Forgotten Faith (Menil), Cosmopolitan Routes: Houston Collects Latin American Art, The Progress of Love (Menil), plus any number of photographic and prints - and - drawings show at the MFAH that might not be «Big A» enough for Tibbits's criteria.

While the movement was referred to by many names throughout its time, «A.B.C. art,» «Reductive Art,» «literalism,» «systemic painting,» and «Art of the Real,» Minimalism was accepted into the contemporary canon, re-defining the boundaries of traditional art making.

Combining a ceiling mounted projector and wall - bound painting into a single work, they take as their starting point contemporary painter Albert Oehlen's forays into projections on paintings.

Inspired by the success of The Responsive Eye and a resulting explosion in enthusiasm for the Op Art (also known as Optical Art) movement, art collector, clothing manufacturer (and subsequently founder of the Aldrich Contemporary Art Museum) Larry Aldrich, hired graphic artist Julian Tomchin to translate some of the Op Art paintings in his collection into textile designs.

Baselitz revisits paintings such as The Great Friends and Finger Painting - Eagle in a dynamic process that virtually reinterprets the original versions» significant features, thereby transposing the artist's work into a more contemporary framework.

Whether in his paintings or his installations, his formal world has always transformed the condition of contemporary society, concentrating a chaotic and constantly shifting modern china into a dynamic artistic language.

She has been credited with injecting new force into contemporary narrative painting.

The Institute of Contemporary Art, London is now hosting Woodman's first solo show in the UK, which features her recent forays into painting and mixed - media installations — evidence that even at 85, she is still searching for new ways to express herself.

For a recent interview with Hoptman we delved deep into the nitty - gritty of contemporary painting, including especially the recent trend towards a-historical borrowing that characterizes the works of both her much - talked - about 2014 MoMA exhibition «The Forever Now» as well as the widely denounced pseudo-movement referred to as «Zombie Formalism.»

The selection includes works by the foremost practitioners of the art of miniature painting in England, Nicholas Hilliard and Isaac Oliver, and portraits of writers, such as William Shakespeare and John Donne, who wove miniatures into contemporary culture through references in their plays and poems.

It was also in New York that Thompson quickly arrived at his mature style, taking Dody Müller's advice to heart by reworking the compositions of European Masters such as Piero della Francesca, Nicolas Poussin, and Jacopo Tintoretto into simplified, abstracted forms painted in threatening and seductive tones that were hot and violent or deep and dark — seizing on the dynamism of these classical scenes and often transforming them into contemporary allegorical nightmares.

A speaker from the Smithsonian National Museum of African Art will also paint a picture of how Daniel's work fits into contemporary Ethiopian art.

October Scott was one of the artists invited to submit a painting for the exhibition Painting into Textiles, which opened at the Institute of Contemporary Arts, London, on 21 October (closed 14 Novembepainting for the exhibition Painting into Textiles, which opened at the Institute of Contemporary Arts, London, on 21 October (closed 14 NovembePainting into Textiles, which opened at the Institute of Contemporary Arts, London, on 21 October (closed 14 November 1953).

Recent major exhibitions have included Painted on 21st Street: Helen Frankenthaler from 1950 to 1959 (Gagosian Gallery, NY, 2013); Making Painting: Helen Frankenthaler and JMW Turner (Turner Contemporary, Margate, UK, 2014); Helen Frankenthaler: Composing with Color: Paintings 1962 — 1963 (Gagosian Gallery, NY, 2014); Giving Up One's Mark: Helen Frankenthaler in the 1960s and 1970s (Albright - Knox Art Gallery, Buffalo, NY, in cooperation with the Helen Frankenthaler Foundation, 2014 — 2015); Pretty Raw: After and Around Helen Frankenthaler (Rose Art Museum at Brandeis University, 2015); Line into Color, Color into Line: Helen Frankenthaler, Paintings, 1962 — 1987 (Gagosian Gallery, Beverly Hills, 2016); As in Nature: Helen Frankenthaler Paintings and No Rules: Helen Frankenthaler Woodcuts (The Clark Art Institute, Williamstown, MA, 2017); and Helen Frankenthaler: After Abstract Expressionism, 1959 — 1962 (Gagosian Gallery, Paris, 2017).

Venture into the contemporary gallery at the Birmingham Museum of Art and you are immediately struck by a massive painting by Birmingham - born, Chicago - based artist Kerry James Marshall.

2018 As Far as the Eye Can See, New Insight into the Würth Collection, Kunsthalle Würth, Künzelsau, Germany (catalogue) Chaos and Awe: Painting for the 21st Century, Frist Center, Nashville, TN (catalogue) American Abstraction, A Postmodern vision of Abstract Expressionism, Sam Francis, Frank Stella, Peter Halley, Galerie Retelet, Monaco Abstract USA *, QG Gallery, Brussels KEDEUM - KODEM - KADIMA, The Center for Contemporary Art, Tel Av (installation) Emerald City, K11 Foundation, Hong Kong (installation) Geometries, Onassis Cultural Centre, Athens Postmodernism / Modernism, Robert Mangold / Peter Halley, Maruani Mercier, Brussels Brand New: Art and Commodity in the 1980s, Hirschhorn Museum and Sculpture Garden, Washington, DC (catalogue) Peter, Paul, and Mary, Adrian Rosenfeld Gallery, San Francisco ROYGBIV, Kate Werble Gallery, New York

Richter's more recent work has transformed into more recognizable narratives, a kind of contemporary history painting: «When I changed to narration it was also an urge that had to do, on a very simple level, with reality... I felt the desire to paint things that related to what I saw in the world.»

Combining the linear precision of Renaissance scientific drawing with the primordial gestures of cave painting, the distortions of Cubist heads and the energy of contemporary street art, the skull became a furnace into which Basquiat poured the contents of his visual imagination, melting together centuries of stylistic influence.

Quinn will present densely layered paintings that transform art historical genre painting into contemporary experience.

Stacked into 2.5 m square «paintings» with fluorescent lights, they confront contemporary consumer display forms with references to Minimalism and Abstract Expressionism.

This publication, produced on the occasion of Cavepainting, an artist - directed project at the Santa Monica Museum of Art, reproduces an email conversation among three painters with strong overlapping interests - Peter Doig, Chris Ofili and Laura Owens - whose voices evolve into a freewheeling yet cogent exegesis on the state of contemporary painting.

From 2003 until 2011 he was a curator at the Antwerp Museum of Contemporary Art (MuHKA), where he organized large - scale group exhibitions as well as monographic shows, including Emotion Pictures (2005); Intertidal, a survey show of contemporary art from Vancouver (2005); The Order of Things (2008); Auguste Orts: Correspondence (2010); Liam Gillick and Lawrence Weiner — A Syntax of Dependency (2011); A Rua: The Spirit of Rio de Janeiro (2011); Chantal Akerman: Too Close, Too Far (2012) and the collaborative projects Academy: Learning from Art (2006), The Projection Project (2007), All That Is Solid Melts Into Air (2009), and Kerry James Marshall: Paintings and Other SContemporary Art (MuHKA), where he organized large - scale group exhibitions as well as monographic shows, including Emotion Pictures (2005); Intertidal, a survey show of contemporary art from Vancouver (2005); The Order of Things (2008); Auguste Orts: Correspondence (2010); Liam Gillick and Lawrence Weiner — A Syntax of Dependency (2011); A Rua: The Spirit of Rio de Janeiro (2011); Chantal Akerman: Too Close, Too Far (2012) and the collaborative projects Academy: Learning from Art (2006), The Projection Project (2007), All That Is Solid Melts Into Air (2009), and Kerry James Marshall: Paintings and Other Scontemporary art from Vancouver (2005); The Order of Things (2008); Auguste Orts: Correspondence (2010); Liam Gillick and Lawrence Weiner — A Syntax of Dependency (2011); A Rua: The Spirit of Rio de Janeiro (2011); Chantal Akerman: Too Close, Too Far (2012) and the collaborative projects Academy: Learning from Art (2006), The Projection Project (2007), All That Is Solid Melts Into Air (2009), and Kerry James Marshall: Paintings and Other Stuff (2013).

2016 Passman, Melissa, Art in Focus, (interview), April Boucher, Brian, «11 Booths I could hardly tear myself away from at Nada New York», artnet.com, May 6 Sutton, Benjamin, «Nada New York Gets Nasty», hyperallergic.com, May 6 Shaw, Michael, The Conversation Podcast, episode # 135, theconversationartistpodcast.podomatic.com, April 15 2015 Griffin, Jonathan, «Reviews in Brief: Max Maslansky», Modern Painters, February, p. 77 Cherry, Henry, «Escaping Monotony with Max Maslansky», Reimagine (online), February Diehl, Travis, «Critics» Picks: Max Maslansky», artforum.com, May 5 Los Angeles Review of Books, lareviewofbooks.org, (image), June 21 Hotchkiss, Sarah, «Sexy Sculpture Fills CULT's Summer Group Show», kqed.com, July 27 CCF Fellowship for Visual Artists 2015, catalog, p9 Archer, Larissa, «Review: Sexxitecture / Cult, San Francisco,» Frieze, October, pp260 - 261 2014 Hutton, Jen, «Max Maslansky», Made in L.A. 2014, catalog, Hammer Museum, Los Angeles Miranda, Carolina A., «Datebook: Boxing painters, teen idols, and John Altoon's short career», The Los Angeles Times, June 5 Zimskind, Lyle, «Channing Hansen's Quantum Paintings are Really Knit», Los Angeles Magazine Blog.com, July 17 Finkel, Jori, «Painting on Radio Canvas», The New York Times, February 7 Khadivi, Jesi, «Curated in L.A», interview with Michael Ned Holte, Kaleidoscope, Summer, pp.110 - 115 Gill, Noor, «' Made in L.A 2014» at Hammer Museum displays work by artists like Max Maslansky», DailyBruin.com, August 4 Hernando, Gladys, «The White Album», catalog, Richard Telles Fine Art, Los Angeles, p. 28 Plagens, Peter, «Exhibit a Creation of Show, Not Tell», The Wall Street Journal, August 19 Berardini, Andrew, Art Review, September Dhiel, Travis, «The Face Collector», essay for Sniff The Space Flat on Your Face catalog, pp. 15 - 18 Griffin, Jonathan, «Highlights 2014», Frieze.com, December 19 New American Paintings, issue 115, Pacific Coast, December 2014 / January 2015, pp. 118-121 2013 Perry, Eve, «Not Taking the 1990s Very Seriously», Hyperallergic.com, (web), March 27 Griffin, Jonathan, «Made in Space», art agenda.com, (web), March 28 Smith, Roberta, «Art in Review: Made in Space», The New York Times, August 1 «Made in Space at Gavin Brown and Venus Over Manhattan», Contemporary Art Daily, August 6 «Group Show at Tif's Desk at Tom Solomon», Contemporary Art Daily, July 28 2011 MacDevitt, James, Object - Orientation, catalog, Cerritos College Art Gallery Dambrot, Shana Nys, «Web Diver: Turning Strangers» Online Photos into Paintings», LA Weekly, May 2010 Beautiful Decay, (www.beautifuldecay.com), July 22 2007 «Allegorical Statements», Los Angeles Times, May 17, p. E3 2006 Bellstrom, Kristen, «The Art of Buying», Smart Money Magazine, May 2006, pp. 111 - 13 Impression (Ism): Contemporary Impressions, catalog, City of Brea Art Gallery, Brea, CA, March 2005 The Armpit of the Mole, a drawing compilation, Fundació 30 km / s, Paris, France

A collection of 33 paintings that range from miniature to large scale, Kobaslija's show turns UNF Gallery at Museum of Contemporary Art Jacksonville (MOCA JAX) into a winding rumination on those concepts layered...

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»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»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»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 November last year (2013) Shanghai based Chinese artist Zhang Enli immersed his audience into the luscious colours and gestural strokes of his Space Painting installation at the Institute of Contemporary Arts (ICA) in London.