Sentences with phrase «introduction to exhibition catalogue»

Frequently, Still seems to work backward and forward in time, returning to earlier concepts and themes, and developing them into the future; as Hopkins notes in his introduction to exhibition catalogue, a strong component of Still's stylistic evolution «consist of looking back to earlier works for sustenance, especially when he feels he is reaching into an area beyond his knowledge of himself.»

Gowing, Lawrence, Here Comes the Diesel», introduction to exhibition catalogue, Anthony d'Offay Gallery, London, 1988

British designer Sir Paul Smith has written the introduction to the exhibition catalogue, which is now available from the gallery.

Not exact matches

Patrick Heron wrote an introduction to a Wynter exhibition catalogue for the New Art Centre, March — April 1982 and devoted most of his text to a consideration of the sort of shapes and marks most identified with the artist.

T03458 ANTONY AND CLEOPATRA 1982 Oil on canvas 114 1/4 × 113 5/16 (2893 × 2872) Inscribed «Gillian Ayres» b.r. Purchased from Knoedler Gallery (Grant - in - Aid) 1982 Exh: Gillian Ayres, Knoedler Gallery, April — May 1982 (20, as «Anthony and Cleopatra»); Gillian Ayres, Serpentine Gallery, November 1983 — January 1984 (17, as «Anthony and Cleopatra») Lit: Tim Hilton, introduction to Gillian Ayres, exhibition catalogue, Serpentine Gallery, November 1983 — January 1984, p. 16 as «Anthony and Cleopatra» The following entry is based upon a conversation between the compiler and the artist held on 8 April 1986 and has been approved by the artist.

In the catalogue introduction to the exhibition Fry argued that the post-impressionist creates, not a pale response to actual appearance, but a new reality.18 He argued that the logical extreme of such a method would be the complete renunciation of natural form and the creation of a purely abstract language, a visual music.

Another of Walker's students was Arthur Watson, now president of the Royal Scottish Academy; in the introduction to Downie's exhibition catalogue for her 2013 show Walk Through Resonant Landscape, the consequence of her Chinese residency and travels, Watson observes the contribution made by Walker to her students» ability to perceive and explore the unique landscape of Scotland and for the primacy of drawing: «With a base on the island of Tiree, [Frances Walker] ranged across the West Coast and Western Isles interrogating the coastal margins — the rhythm of pebbles across a storm beach or the fractured architecture of a rocky foreshore, meticulously recorded through a vocabulary of precise but unforgiving ink lines.»

-- alien matter — An introduction by Inke Arns is published to accompany the transmediale 2017 exhibition catalogue.

Selected Bibliography «No Border: Zheng Xuewu Solo Exhibition,» Time Out Beijing, Beijing, August 2007; Jonathan Goodman, «Zheng Xuewu at Art Projects International,» Art Asia Pacific, reproduction, New York, Fall 2005; Xenia Tetmajer von Prxerwa, Zheng Xuewu's Lone Journey into Abstraction, exhibition catalog, Redgate Gallery, Beijing, 2004; Zheng Zuoliang, My View of Xuewu Print, catalog essay, Beijing, 2003; Xenia Tetmajer von Prxerwa, A Labyrinth of Reality, catalog essay, Beijing, 2003; Judith Farquhar, Introduction to Zheng Xuewu's Work, exhibition catalogue, reproductions, Art Scene China, Shanghai, 2003; Song Xiaoxia, «The Visual World in the Eye of the Urchin,» Chinese Art, 1999; Li Chun, «To the Tune of a Different Drum: The Paintings of Zheng Xuewu,» Central Academy of Fine Arts, Beijing, SepteExhibition,» Time Out Beijing, Beijing, August 2007; Jonathan Goodman, «Zheng Xuewu at Art Projects International,» Art Asia Pacific, reproduction, New York, Fall 2005; Xenia Tetmajer von Prxerwa, Zheng Xuewu's Lone Journey into Abstraction, exhibition catalog, Redgate Gallery, Beijing, 2004; Zheng Zuoliang, My View of Xuewu Print, catalog essay, Beijing, 2003; Xenia Tetmajer von Prxerwa, A Labyrinth of Reality, catalog essay, Beijing, 2003; Judith Farquhar, Introduction to Zheng Xuewu's Work, exhibition catalogue, reproductions, Art Scene China, Shanghai, 2003; Song Xiaoxia, «The Visual World in the Eye of the Urchin,» Chinese Art, 1999; Li Chun, «To the Tune of a Different Drum: The Paintings of Zheng Xuewu,» Central Academy of Fine Arts, Beijing, Septeexhibition catalog, Redgate Gallery, Beijing, 2004; Zheng Zuoliang, My View of Xuewu Print, catalog essay, Beijing, 2003; Xenia Tetmajer von Prxerwa, A Labyrinth of Reality, catalog essay, Beijing, 2003; Judith Farquhar, Introduction to Zheng Xuewu's Work, exhibition catalogue, reproductions, Art Scene China, Shanghai, 2003; Song Xiaoxia, «The Visual World in the Eye of the Urchin,» Chinese Art, 1999; Li Chun, «To the Tune of a Different Drum: The Paintings of Zheng Xuewu,» Central Academy of Fine Arts, Beijing, September 199to Zheng Xuewu's Work, exhibition catalogue, reproductions, Art Scene China, Shanghai, 2003; Song Xiaoxia, «The Visual World in the Eye of the Urchin,» Chinese Art, 1999; Li Chun, «To the Tune of a Different Drum: The Paintings of Zheng Xuewu,» Central Academy of Fine Arts, Beijing, Septeexhibition catalogue, reproductions, Art Scene China, Shanghai, 2003; Song Xiaoxia, «The Visual World in the Eye of the Urchin,» Chinese Art, 1999; Li Chun, «To the Tune of a Different Drum: The Paintings of Zheng Xuewu,» Central Academy of Fine Arts, Beijing, September 199To the Tune of a Different Drum: The Paintings of Zheng Xuewu,» Central Academy of Fine Arts, Beijing, September 1994.

An illustrated catalogue featuring an introduction by Arne Glimcher, a personal letter from Jean Dubuffet to Arne Glimcher and an essay by Dr. Kent Minturn will accompany the exhibition.

The exhibition will be accompanied by a fully illustrated two - volume publication: a catalogue with an introduction by the three curators, and an essay by Briony Fer, and a subject index, a second volume in the form of a glossary that is devoted to important ideas in Horn's practice or that relate to individual works.

As Jens Hoffmann observes in his introduction to the «Other Primary Structures» catalogue: «When it comes to exhibitions... we are only beginning to entertain the question of how they might be restaged and experienced anew, decades and continents removed from their original presentation.»

The final exhibition in this student - led format was staged in 1986 with a catalogue which contained a historical introduction (and post-script), to the exhibition by Andrew Lambirth, New Contemporaries Past and Present.

A color catalogue expanding on Barrada's recent film - and - performance Tree Identification for Beginners (2017), with an introduction by Adrienne Edwards, will be published to coincide with the opening of the exhibition.

In the introduction to his catalogue for Information, often considered the first exhibition of Conceptual Art at a major museum, curator Kynaston McShine places Reinhardt among those who marked the intellectual climate that produced Conceptualism, along with Marcel Duchamp, Buckminster Fuller, Marshall McLuhan, the I - Ching, the Beatles, Claude Levi - Strauss, John Cage, Yves Klein, Herbert Marcuse, Ludwig Wittgenstein, and others.

In the introduction to the catalogue of her 2008 exhibition at the Victoria Miro Gallery in London, Neal Brown wrote:

Charles Merewether writes in his introduction to the exhibition's catalogue: «Digital media art, in the hands of such artists as teamLab, succeed as an art of participatory installation and part of our everyday contemporary lives.»

His eponymous essay of 1986 now serves as the catalogue introduction to an exhibition at Michael Werner Gallery in London, of Kirkeby's paintings and sculptures from that decade.

Accompanying the exhibition will be an illustrated catalogue, designed by Lorraine Wild of Green Dragon Studio and featuring essays by Bohn - Spector, Mellon, Kenneth Allan (Seattle University, WA), and an introduction by Tosh Berman, reassessing Berman's significant contributions to the history of 20th century American art.

(«For an exhibition seeking to emphasize nonverbal, visual plasticity, ambiguity and multivalence, a catalogue with only analytical essays would seem inappropriate,» Kertess wrote in his introduction.)

Kertess's catalogue is less a checklist than an introduction to his philosophy of art, and it contains few photographs of actual works from the exhibition or essays about them.

The exhibition announcement reprints Léger's introduction to Calder's 1931 Galerie Percier catalogue.

Born in 1958, Chicago, IL Recent locations include Los Angeles; New Orleans; Baja California, Mexico; San Juan Islands, British Columbia and Portland SOLO EXHIBITIONS 2011 Loose Lips Do Sink Ships, Laurel Gitlen, New York Sorry We're Closed, Brussels, Belgium (forthcoming) 2010 Timothy Taylor Gallery, London 2009 Galerie Laurent Godin, Paris Laurel Gitlen, New York Sorry We're Closed, Brussels, Belgium 2008 State of the Union, Small A Projects, Portland, OR 2007 White Columns, New York SELECTED GROUP EXHIBITIONS 2011 Sex Drive, Haverford College, Haverford, PA (curated by Stuart Horodner) 2010 Bienniale de Belleville, Paris 2009 Sign of the Times, Monique Meloche Gallery, Chicago Diabolique, Dunlop Art Gallery, Regina, Saskatchewan, Canada; Galerie de L'UQAM, Montreal, Canada; Military Museums, Calgary, Canada (curated by Amanda Cachia) Salvador Diaz Gallery, Madrid (curated by Rikrit Tiravanija) 2008 Say Goodbye To..., Clifford Gallery, Colgate University, Hamilton, NY 2008 Altoids Award, The New Museum of Contemporary Art, New York Ambivalent Figuration, Samson Projects, Boston, MA 2007 Memorial to the Iraq War, ICA London (with Harrell Fletcher) BIBLIOGRAPHY Free Speech Zone: Michael Patterson - Carver, monograph edited by Harrell Fletcher, with contributions by Fletcher, Matthew Higgs, and an introduction by Michael Patterson - Carver, (London: Four Corners Books, 2010) Cachia, Amanda, Diabolique, exhibition catalogue, (Dunlop Art Gallery, 2009) Dexter, Emma, «Michael Patterson - Carver» in 60: Innovators Shaping Our Creative Future, edited by Lucas Dietrich, (London: Thames and Hudson, 2009) «Michael Patterson - Carver,» (review) The New Yorker, October 19, 2009 Anne Doran, «Michael Patterson - Carver,» (review) Time Out New York issue 732, October 8 - 14, 2009 Sanders, Gabriel, «Trader Joe's Treasure,» The Forward, July 2008 Yim, Su - jin, «Political Artist Moves in Higher Circles» (Michael Patterson - Carver), The Oregonian, April 2008 Vogel, Carol, «Inside Art: Altoids Award» (Michael Patterson - Carver), New York Times, March 2008 Yim, Su - jin, «An Artist, Discovered» (Michael Patterson - Carver), The Oregonian, August 2007 PUBLIC COLLECTIONS American Folk Art Museum, New York City of Paris Permanent Collection FRAC Bretagne, Châteaugiron, France Museum of Everything, LondTo..., Clifford Gallery, Colgate University, Hamilton, NY 2008 Altoids Award, The New Museum of Contemporary Art, New York Ambivalent Figuration, Samson Projects, Boston, MA 2007 Memorial to the Iraq War, ICA London (with Harrell Fletcher) BIBLIOGRAPHY Free Speech Zone: Michael Patterson - Carver, monograph edited by Harrell Fletcher, with contributions by Fletcher, Matthew Higgs, and an introduction by Michael Patterson - Carver, (London: Four Corners Books, 2010) Cachia, Amanda, Diabolique, exhibition catalogue, (Dunlop Art Gallery, 2009) Dexter, Emma, «Michael Patterson - Carver» in 60: Innovators Shaping Our Creative Future, edited by Lucas Dietrich, (London: Thames and Hudson, 2009) «Michael Patterson - Carver,» (review) The New Yorker, October 19, 2009 Anne Doran, «Michael Patterson - Carver,» (review) Time Out New York issue 732, October 8 - 14, 2009 Sanders, Gabriel, «Trader Joe's Treasure,» The Forward, July 2008 Yim, Su - jin, «Political Artist Moves in Higher Circles» (Michael Patterson - Carver), The Oregonian, April 2008 Vogel, Carol, «Inside Art: Altoids Award» (Michael Patterson - Carver), New York Times, March 2008 Yim, Su - jin, «An Artist, Discovered» (Michael Patterson - Carver), The Oregonian, August 2007 PUBLIC COLLECTIONS American Folk Art Museum, New York City of Paris Permanent Collection FRAC Bretagne, Châteaugiron, France Museum of Everything, Londto the Iraq War, ICA London (with Harrell Fletcher) BIBLIOGRAPHY Free Speech Zone: Michael Patterson - Carver, monograph edited by Harrell Fletcher, with contributions by Fletcher, Matthew Higgs, and an introduction by Michael Patterson - Carver, (London: Four Corners Books, 2010) Cachia, Amanda, Diabolique, exhibition catalogue, (Dunlop Art Gallery, 2009) Dexter, Emma, «Michael Patterson - Carver» in 60: Innovators Shaping Our Creative Future, edited by Lucas Dietrich, (London: Thames and Hudson, 2009) «Michael Patterson - Carver,» (review) The New Yorker, October 19, 2009 Anne Doran, «Michael Patterson - Carver,» (review) Time Out New York issue 732, October 8 - 14, 2009 Sanders, Gabriel, «Trader Joe's Treasure,» The Forward, July 2008 Yim, Su - jin, «Political Artist Moves in Higher Circles» (Michael Patterson - Carver), The Oregonian, April 2008 Vogel, Carol, «Inside Art: Altoids Award» (Michael Patterson - Carver), New York Times, March 2008 Yim, Su - jin, «An Artist, Discovered» (Michael Patterson - Carver), The Oregonian, August 2007 PUBLIC COLLECTIONS American Folk Art Museum, New York City of Paris Permanent Collection FRAC Bretagne, Châteaugiron, France Museum of Everything, London

2001 Beyond Turners Road publication to accompany solo exhibition at Agnew's, London, with story commissioned from Iain Sinclair Jock McFadyen, A Book About a Painter, monograph by David Cohen with contributions from other authors, published by Lund Humphries 1999 From Orkney and Other Places, publication to accompany solo exhibition for St Magnus Festival at Pier Arts Centre, Stromness, Orkney, prose commissioned from Will Self 1998 Looking Out To Sea, catalogue for solo Edinburgh Festival exhibition at Talbot Rice Gallery Edinburgh, with an essay by Duncan Macmillan 1991 Fragments from Berlin, catalogue for solo exhibition at Imperial War Museum London, Kelvingrove Glasgow and Manchester City Art Gallery, with foreword by Angela Weight and essay by Tom Lubbock Canal, catalogue for solo exhibition at William Jackson Gallery, London, with an introduction by Jeffery Camp and an essay by Howard Jacobsto accompany solo exhibition at Agnew's, London, with story commissioned from Iain Sinclair Jock McFadyen, A Book About a Painter, monograph by David Cohen with contributions from other authors, published by Lund Humphries 1999 From Orkney and Other Places, publication to accompany solo exhibition for St Magnus Festival at Pier Arts Centre, Stromness, Orkney, prose commissioned from Will Self 1998 Looking Out To Sea, catalogue for solo Edinburgh Festival exhibition at Talbot Rice Gallery Edinburgh, with an essay by Duncan Macmillan 1991 Fragments from Berlin, catalogue for solo exhibition at Imperial War Museum London, Kelvingrove Glasgow and Manchester City Art Gallery, with foreword by Angela Weight and essay by Tom Lubbock Canal, catalogue for solo exhibition at William Jackson Gallery, London, with an introduction by Jeffery Camp and an essay by Howard Jacobsto accompany solo exhibition for St Magnus Festival at Pier Arts Centre, Stromness, Orkney, prose commissioned from Will Self 1998 Looking Out To Sea, catalogue for solo Edinburgh Festival exhibition at Talbot Rice Gallery Edinburgh, with an essay by Duncan Macmillan 1991 Fragments from Berlin, catalogue for solo exhibition at Imperial War Museum London, Kelvingrove Glasgow and Manchester City Art Gallery, with foreword by Angela Weight and essay by Tom Lubbock Canal, catalogue for solo exhibition at William Jackson Gallery, London, with an introduction by Jeffery Camp and an essay by Howard JacobsTo Sea, catalogue for solo Edinburgh Festival exhibition at Talbot Rice Gallery Edinburgh, with an essay by Duncan Macmillan 1991 Fragments from Berlin, catalogue for solo exhibition at Imperial War Museum London, Kelvingrove Glasgow and Manchester City Art Gallery, with foreword by Angela Weight and essay by Tom Lubbock Canal, catalogue for solo exhibition at William Jackson Gallery, London, with an introduction by Jeffery Camp and an essay by Howard Jacobson

In the introduction of the catalogue accompanying the exhibition, Kosinski felt compelled to state: «We insist upon Ossorio as artist and refuse to allow his artistic practice to be obscured by his roles as friend, author, patron and collector, though inevitably those activities figure importantly in this story.»

T01868 CANTUS FIRMUS 1972 — 3 Inscribed «Riley 73» on stretcher Cryla on Canvas, 95 × 85 (240.3 × 216) Purchased from the artist through the Rowan Gallery (Grant - in - Aid) 1974 Exh: La Peinture Anglaise Aujourdhui, Musée d'Art Moderne de la Ville de Paris, Paris, February — March 1973 (55); Bridget Riley, Arts Council touring exhibition, April 1973 — January 1974 (64) Lit: Bryan Robertson, «Bridget Riley: Colour as Image», Art in America, LXIII, March — April 1975, pp. 69 — 71; «Bridget Riley in conversation with Robert Kudielka», Catalogue introduction to Bridget Riley, Arts Council touring exhibition, April 1973 — January 1974 Since 1969 an important aspect of Bridget Riley's work has been its concern with the interplay between light and colour.

Towards the end of her catalogue essay about the exhibition, Thomas writes «With the introduction of virtual dimensions, of multifold visual realities, we can no longer assume a reality to which our sense of self corresponds and it is left to the artist to interrogate the nature of reality.»

In 1934 André Breton wrote an introduction to the catalogue for Brauner's first Parisian solo exhibition at the Pierre Gallery.

1 Paul Dierichs, Kassell, 1982 (repro in b & w p. 197) A Developing Pratice, Michael Compton, in Barry Flanagan: Sculpture, The British Council, London, 1982, pp. 17 - 28 (repro in b & w p. 40); published to accompany the exhibition «Barry Flanagan, Stone and Bronze Sculptures», held in the British Pavillion at the XXXX Venice Biennale (reprinted in Barry Flanagan: Recent Sculpture, exhibition catalogue, Pace Gallery Publications, New York, 1983) Introduction, Elizabeth Knowles, in Barry Flanagan: prints 1970 - 1983, Tate Gallery Publications, London, 1986, pp. 9 -12 (repro.

The opening of the exhibition, which will take place on Thursday 13 July from 18:00 to 20:00 on the first floor of the building, will also include an introduction of the new monographic catalogue of the author.

As we can read in the introduction of the exhibition catalogue — written by Gabriele Spindler, artistic director of Landesgalerie Linz — the special lighting effect in Peter Schlör's photography is strongly related to 17th - century Dutch landscape painting.

Published to accompany the group exhibition Ambulations: An Exhibition of Contemporary Works Based on the Notion of Walking, including Baet Yeok Kuan, S Chandrasekaran, Chua Ek Kay, Rhett d'Costa, Tamares Goh, Amanda Heng, Salleh Japar (in collaboration with Ruzana Saini), Vincent Leow, Claire Lim Sheau Shih, Lim Shing Ee, Richard Long, John Low, Milenko Prvacki, Sanjot Kaur Sekhon, Sia Joo Hiang, Ian Woo, Ye Shufang, and Terence Yeung, at the Earl Lu Gallery Editor: Gunalan Nadarajan Introduction by Gunalan Nadarajan Essay by Gunalan Nadarajan Biographical information Catalogue of works in the exhibition Softback, 128 pages, 20 x 20 cm,exhibition Ambulations: An Exhibition of Contemporary Works Based on the Notion of Walking, including Baet Yeok Kuan, S Chandrasekaran, Chua Ek Kay, Rhett d'Costa, Tamares Goh, Amanda Heng, Salleh Japar (in collaboration with Ruzana Saini), Vincent Leow, Claire Lim Sheau Shih, Lim Shing Ee, Richard Long, John Low, Milenko Prvacki, Sanjot Kaur Sekhon, Sia Joo Hiang, Ian Woo, Ye Shufang, and Terence Yeung, at the Earl Lu Gallery Editor: Gunalan Nadarajan Introduction by Gunalan Nadarajan Essay by Gunalan Nadarajan Biographical information Catalogue of works in the exhibition Softback, 128 pages, 20 x 20 cm,Exhibition of Contemporary Works Based on the Notion of Walking, including Baet Yeok Kuan, S Chandrasekaran, Chua Ek Kay, Rhett d'Costa, Tamares Goh, Amanda Heng, Salleh Japar (in collaboration with Ruzana Saini), Vincent Leow, Claire Lim Sheau Shih, Lim Shing Ee, Richard Long, John Low, Milenko Prvacki, Sanjot Kaur Sekhon, Sia Joo Hiang, Ian Woo, Ye Shufang, and Terence Yeung, at the Earl Lu Gallery Editor: Gunalan Nadarajan Introduction by Gunalan Nadarajan Essay by Gunalan Nadarajan Biographical information Catalogue of works in the exhibition Softback, 128 pages, 20 x 20 cm,exhibition Softback, 128 pages, 20 x 20 cm, 20 illus.

Published to accompany the group exhibition Modern love: LASALLE thirtieth anniversary exhibition, including Ahmad Abu Bakar, Lina Adam, Jon Chan, Choy Ka Fai, Chua Chye Teck, Amanda Heng, Jeremy Hiah, Djohan Johari, Godwin Koay, Zai Kuning, Jane Lee, Lee Wen, Vincent Leow, Justin Lim, Zulkifle Mahmood, mohamadriduan, Donna Ong, Ruben Pang, Phan Thao Nguyen, PHUNK, Ana Prvacki, Rizman Putra, Shubigi Rao, Zaki Razak, anGie Seah, Jeremy Sharma, Shirley Soh, Speak Cryptic, Melissa Tan and Suzann Victor, at the ICA Singapore Introduction by Bala Starr and Khairuddin Hori Biographical information Catalogue of works in the exhibition Softback, 24 pages, 21 x 14.8 cm, 2 illus.

As he writes in his catalogue introduction, «Some readers will wonder whether it is purely accidental that an exhibition and publication appearing in 2006 are devoted to works that depict the baleful consequences of a military intervention and regime change.