Sentences with phrase «of imaginary museums»

A reflection on the impulse to save both the most precious and the apparently valueless, this presentation brings together a variety of imaginary museums, personal collections, and unusual assemblages, revealing the devotion with which artists, collectors, scholars, and hoarders have created sanctuaries for endangered images and artifacts.

A reflection on the impulse to save both the most precious and the apparently valueless, it brings together a variety of imaginary museums, personal collections, and unusual assemblages, revealing the devotion with which artists, collectors, scholars, and hoarders have created sanctuaries for endangered images and artifacts.

A reflection on the impulse to save both the most precious and the apparently valueless, the exhibition brings together a variety of imaginary museums, personal collections, and unusual assemblages, revealing the devotion with which artists, collectors, scholars, and hoarders have created sanctuaries for endangered images and artifacts.

Through a variety of imaginary museums, personal collections and unusual assemblages, it offers a reflection on the impulse to save both the most precious and the apparently valueless, and reveals the devotion with which artists, collectors, scholars and hoarders have created sanctuaries for endangered images and artifacts.

Ackerman hangs that portrait off - center, like the remnant of an imaginary museum, amid a tracery of black - and - white.

What is clear is that, in forgoing an incremental career summation in favor of a network of dialogues among the artist and a panoply of interlocutors, the exhibition not only proffered an alternative to the stock model of a retrospective but also recast the prototype of an imaginary museum.

Not exact matches

Water was «read» by their mind, heart, sensorial attitude, into a valuable process of transdisciplinary knowledge.3 The visit to The Water Tower4 of the town and its museum facilitated the real knowledge of the objects and instruments that were used during the centuries by the rural and urban civilization concerning the use of water; the creative workshops facilitated unexpected «meetings» between poetry, music and painting in the artistic imaginary frame of water; the presentations revealed the magic powers of the water as they are known in folklore, mythology and also the astonishing Bible significations of the water and its use in religious rituals; the scientific outlook on water brought forward for discussion its physical - chemical properties, its role in the human metabolism and in all living beings.

So instead of hushed museum spaces or white gallery walls, visitors experience a multi-sensory journey into this sublime imaginary world; through Christopher Robin's bedroom, to the Hundred Aker Wood and beyond.

To accomplish such a feat, the museum team enlisted the services of agency AMV BBDO, which took the wild, kooky, and beloved imaginary friends of children and brought them to life in the real world.

Select Visiting Artist Lectures / Panels 2018 University of Nevada Reno, Visiting Artist 2018 Walker Art Center, Native Arts Panel, moderator, Beyond the Guest Appearance: Committing to Native Art 2018 Northern Michigan University, Visiting Artist 2018 St. Louis Art Museum, Visiting Artis 2018 Power and Place: Native Arts, Exhibitions, and Minnesota, panelist, St. Thomas University, St. Paul, MN 2017 University of Minnesota, Indigenous Artist Talk Series, Minneapolis, MN 2017 University of Minnesota, State of Native Arts, panelist, Minneapolis, MN 2017 Maine College of Art, Visiting Artist Series, Portland, ME 2016 University of Wisconsin - Madison Art Department, Visiting Artist Series, Madison, WI 2016 Joan Mitchell Center Visual MashUP, Visiting and Local Artist Lecture Series, New Orleans, LA 2016 Minneapolis College of Art and Design, Visiting Artist Lecturer, Minneapolis, MN 2015 St. Olaf College Art Department, Visiting Artist Series, Northfield, MN 2015 Minneapolis College of Art and Design, Visiting Artist Lecturer, Minneapolis, MN 2013 University of Wisconsin - Madison Graduate School, Committee on Diversity Initiatives, guest lecturer 2009 Enactments of Imaginary Selves - Being and Becoming in the Postmodern Divide, panelist, 2009 Venice Biennale, Dipartimento di Studi Europei e Postcoloniali, Universita Ca Foscari Venezia Palazzo Cosulich, Venice, Italy

Nonas» solo and two - person exhibitions include Cross Cuts: Richard Nonas and Joel Shapiro at the Knockdown Center, Queens, NY (2014); The Raw Edge: Vière et les Moyennes Montagnes, Digne - les - Bains, France (2012); Shoots Good Not Straight, Musée d'art de Saint - Etienne, France (2010); Smoke, OMI, Ghent, NY (2009); Musée d'Art Moderne et Contemporain, Geneva, Switzerland (1998); Hip and Spine (Stone Chair Setting), Josephine F. Ford Sculpture Garden in collaboration with the Detroit Institute of Arts, MI (1997, permanent); Museum of Contemporary Art Stockade, Los Angeles, CA (1993); Lucifer Landing (Real Snake in an Imaginary Garden), Cranbrook Art Museum, Bloomfield Hills, MI (1989, permanent); Lund Museum of Art, Lund, Sweden (1988, permanent); and Viewpoints: Richard Nonas, Walker Art Center, Minneapolis, MN (1978).

His recent group exhibitions include Imaginary Frontiers, Boghossian Foundation at Villa Empain, Brussels, Belgium (2017); Children of Hangzhou: Connecting with China, Young At Art Museum, Davie, FL (2016); Photography and Film Constructs, Ringling College of Art and Design, Sarasota, FL (2016); WALK!

They exploit a promise that has extended in time from Walter Benjamin's «arcades project» in the 1930s, an encyclopedia of nineteenth - century Paris, or André Malraux's Imaginary Museum through virtual reality today.

There was much talk of the Freedom Tower's strong grouping of Argentinian artists in Miami, and an ABMB standout was artist Sandra Gamarra's imaginary museum at Galeria Leme profiling the 70s Brazilian concrete movement with work by Luciano Figueiredo and Mauro Piva.

Since Ritchie exhibited «The Universal Adversary» at Andrea Rosen Gallery in 2006, his work has been included in numerous exhibitions including: the Venice Architecture Biennale; the Seville Biennale; the Havana Bienal; «Matthew Ritchie, The Iron City,» St. Louis Art Museum; «Wunderkammern» Museum of Modern Art, New York; «The Guggenheim Collection,» Guggenheim Bilbao, Spain; «Not For Sale» PS1, New York; «Confines,» IVAM, Valencia, Spain; «The Shapes of Space,» Guggenheim Museum, New York; «Between Art and Life,» San Francisco Museum of Modern Art; «The Kaleidoscopic Eye,» Mori Art Museum, Tokyo; «In the Beginning: Artists Respond to Genesis,» Contemporary Jewish Museum, San Francisco; «Experimental Marathon Reykjavik, Reykjavik Art Museum; «The Last Scattering, Phase Two,» London, «To the Milky Way by Bicycle,» Staatliche Kunstsammlungen Dresden, Germany; «The Architectural Imaginary in Contemporary Art,» Museum of Contemporary Art, San Diego.

41 ° 7» N., LONG 72 ° 19» W, organized by Bob Nickas, Martos Gallery, East Marion, NY Dear Portrait, MOSTYN, Llandudno, Wales, UK Looking at the View, Tate Britain, Millbank Project, London, UK Aquatopia: The Imaginary of the Ocean Deep, Nottingham Contemporary, Nottingham, UK, travels to: Tate St. Ives, St. Ives, UK Punctum: Fotografie zwischen Inszenierung und Dokumentation, Galerie Meyer Kainer, Vienna, Austria The Fragmented Body, The Israel Museum, Jerusalem, Israel Xerography, Firstsite, Essex, UK L'oeil Photographique, FRAC Auvergne, Clermont - Ferrand, France Paint it Black, Le Plateau, Paris, France Il fascino discreto dell «oggetto, Galleria Nazionale d'Arte Moderna, Rome, Italy The Arctic, Louisiana Musuem of Modern Art, Humlebaek, Denmark

The best known of these essays was Roelstraete's «The Way of the Shovel: On the Archaeological Imaginary in Art», which in 2013 became the basis of his group exhibition that debuted at the Museum of Contemporary Art in Chicago.

1985 Special Exhibition Series 1... from 1960s, Tokyo Gallery, Tokyo, Japan The 10th Anniversary of Museum Opening, Contemporary Sculpture in Japan, Wood Kanagawa Prefectural Gallery, Japan Locus of Contemporary Prints; Post-war Prints by 43 Artists, Fukushima Prefectural Museum of Art, Japan Conceptual Art, Kamakura Gallery, Kanagawa, Japan Self - Portrait Today, The Museum of Modern Art, Saitama, Japan 10th Anniversary of New Building 40 Years of Japanese Contemporary Art, Tokyo Metropolitan Art Museum, Japan Imaginary Monuments Vision, Dream, Image, Kaneko Art Gallery, Tokyo, JapanWith Contemporary Art - Anniversary of Gallery's Opening Soh Gallery, Tokyo, japan Group Show of Mitsuo Kano, Jiro Takamatsu, and Koichi Tanigawa, Galerie Humanite, Tokyo, Japan Yamamura Collection Research Meeting, The National Museum of Art, Osaka, Japan

M - Museum Leuven, Leuven, Belgium Nottingham Contemporary, Nottingham UK, Aquatopia: The Imaginary of the Ocean Deep (traveling to Tate St Ives, Cornwall, UK) The Wallach Art Gallery, Columbia University, New York, NY, Speak, Memory (curated by Tamar Margalit and Beau Rutland) New Museum, New York, NY, NYC 1993: Experimental Jet Set, Trash and No Star (curated by Massimiliano Gioni, Gary Carrion - Murayari, Jenny Moore, Curator, and Margot Norton, with catalog)

Barbara Rossi was among the stars of that scene, and «Poor Traits,» in the New Museum's lobby gallery, is a captivating show of her zany, imaginary reverse paintings on Plexiglas and surrealistic graphite drawings from 1967 to 1975.

In the series The Book of Changes Kha produces imaginary landscapes that trace aspects of her own cultural heritage using sourced material from the collections of Chinese porcelains at the British Museum.

But then, it's true, soon my interest turned into this idea of basically putting together an imaginary museum where those postcards of paintings would be connected to one another.

Massimiliano Gioni introduced the choice of theme evoking the Italo - American self - taught artist Marino Auriti who «on November 16, 1955 filed a design with the US Patent office depicting his Palazzo Enciclopedico (The Encyclopedic Palace), an imaginary museum that was meant to house all worldly knowledge, bringing together the greatest discoveries of the human race, from the wheel to the satellite.

, at Galerie Perrotin, Paris; Painting 2.0: Expression in the Information Age, at Mumok, Vienna; Basim Magdy, at Deutsche Bank Kunsthalle, Berlin; Olga Balema, at Galerie Fons Welters, Amsterdam; Superstudio, at MAXXI, Rome; Francesco Vezzoli, at Nouveau Musée National de Monaco; Kirill Glushchenko, at VAC Foundation at Polkovaya Street 3, Moscow; Ian Cheng, at Migros Museum für Gegenwartskunst, Zürich; Liverpool Biennial 2016, at various venues, Liverpool; The Science of Imaginary Solutions, at Breese Little, London; Under the Same Sun: Art from Latin America Today, at South London Gallery; Jim Hodges, at Stephen Friedman Gallery, London; Making & Unmaking, at Camden Arts Centre, London; This Is A Voice, at Wellcome Collection, London; Paul Lee, at Maccarone, Los Angeles; Neïl Beloufa, at Ghebaly Gallery, Los Angeles; Benjamin Carlson, at Park View, Los Angeles; Michael Rakowitz, at Graham Foundation and Rhona Hoffman Gallery, Chicago; Ed Ruscha, at Edward Tyler Nahem, New York; Radcliffe Bailey, at Jack Shainman Gallery, New York, Christopher K. Ho, at Present Company, New York; Evan Robarts, at Bryce Wolkowitz Gallery, New York, Nasreen Mohamedi, at The Met Breuer, New York; Chelsea Culprit, at Yautepec, Mexico City; Arquivo Ex Machina, at Itaú Cultural, São Paulo.

Their dialogue delves into the complicated notion of the Brazilian imaginary as espoused by sociologist Gilbreto Freire, who founded the museum in 1979 for which these artworks are named, as well as authored the seminal text Grande e Senzala (The Master and the Slaves), first published in 1933.

He describes Reinhardt's admiration for what André Malraux called the imaginary museum, a kind of precursor to today's virtual museum.

His recent group exhibitions include Imaginary Frontiers, Villa Empain - Fondation Boghossian, Brussels, Belgium (2017); Children of Hangzhou: Connecting with China, Young At Art Museum, Davie, FL (2016); Photography and Film Constructs, Ringling College of Art and Design, Sarasota, FL (2016); WALK!

An Te Liu included in the upcoming exhibitions Nothing Stable Under Heaven at SF MoMA and The House Imaginary at San Jose Museum of Art.

Her more recent exhibitions and publications include Automatic Cities: The Architectural Imaginary in Contemporary Art (Museum of Contemporary Art San Diego, 2009) and Phenomenal: California Light, Space, Surface, part of the Getty's Pacific Standard Time initiative (University of California Press, 2011).

Of all the work on view, however, the most strikingly museum - quality piece was undoubtedly Frank Stella's Severambia (side A), an «Imaginary Places» series collage work quite similar to the one that greeted visitors to the artist's recent retrospective at the Whitney Museum of American ArOf all the work on view, however, the most strikingly museum - quality piece was undoubtedly Frank Stella's Severambia (side A), an «Imaginary Places» series collage work quite similar to the one that greeted visitors to the artist's recent retrospective at the Whitney Museum of Americamuseum - quality piece was undoubtedly Frank Stella's Severambia (side A), an «Imaginary Places» series collage work quite similar to the one that greeted visitors to the artist's recent retrospective at the Whitney Museum of AmericaMuseum of American Arof American Art.

Compared to the focused polemics of Institutional Critique artists Hans Haacke, Andrea Fraser, or Fred Wilson, the spirit of Broodthaers» imaginary museum seems far more magical, its critique more elusive.

Whatever the case, the model for Gioni's show is Auriti's imaginary, impossible vision of a museum, and it is duly filled with libraries and archives: 19th - century Shaker drawings, Roger Caillois» collection of rocks, Ed Atkins» excellent film about the archive of André Breton, drawings by Rudolf Steiner, Carl Jung's Red Book (1914 — 30), Linda Fregni Nagler's 1,000 archival photos of babies... It goes on.

She also writes frequently on art and architecture for international books such as Automatic Cities: The Architectural Imaginary in Contemporary Art (Museum of Contemporary Art, San Diego, 2009), Space (MAXXI Museum for 21st Century Arts, Rome, 2010), and Ruins (MIT Press and Whitechapel Gallery, 2011).

Wilke has also participated in a large number of significant group exhibitions including the forthcoming exhibition Virginia Woolf: an exhibition based on her writing, Tate St Ives (2018); Delirious: Art at the Limits of Reason, 1950 - 1980, Met Breuer, New York (2017); Body Talk, Rose Art Museum, Waltham (2017); Feminist Avant - Garde of the 1970s, ZKM, Karlsruhe (2017), travelling to Stavanger Art Museum, Norway and The Brno House of Arts, Brno (2018); I Remember Not Remembering, Scottsdale Museum of Contemporary Art (2017); The Beguiling Siren is Thy Crest, Museum of Modern Art in Warsaw (2017); Performing for the Camera, Tate Modern, London (2016); Revolution in the Making: Abstract Sculpture by Women, 1947 - 2016, Hauser & Wirth & Schimmel, Los Angeles (2016); Americana: Formalizing Craft, Perez Art Museum, Miami (2013); Aquatopia: The Imaginary of the Ocean Deep, Nottingham Contemporary (2013); Human Nature, Los Angeles County Museum of Art (2012); Naked Before the Camera, Metropolitan Museum of Art, New York (2012); Elles: Women Artists from the Centre Pompidou, Seattle Art Museum (2012); The Body as Protest, Albertina Museum, Vienna (2012); Ourselves, Australian Centre for Contemporary Art, Melbourne (2012); The Original Copy: Photography of Sculpture, 1839 to Today, MoMA, New York and elles@centrepompidou, Centre Pompidou, Paris (2010).

It had seen the «triumph» of American painting and the change from the «imaginary museum» of André Malraux in France, a source for John Berger or Rosalind E. Krauss, to the very real museum since Thomas Hoving, including hype, crowds, growth, and blockbusters.

Related to her memorable installation presently at the New Museum, it shows an imaginary black dancer in a blue leotard in a bold pose reminiscent of Sargent's Madame X (1883 — 84), and equally boldly painted — few artists have more strongly claimed and reconfigured European painterly traditions than she.

He has held numerous solo institutional exhibitions around the world, including Florida Living at the SCAD Museum of Art, Savannah (2017), TIME, Hernan Bas: a queer and curious cabinet at the Bass Museum of Art, Miami (2013), The Other Side at the Kunstverein Hannover (2012), Hernan Bas: works from the Rubell Family Collection, Miami (2007) and Brooklyn Museum of Art (2009), and has been included in a number of important group exhibitions, including A Sum of its Parts, at Polk Museum of Art (2016), Tracing Shadows, at PLATEAU, Samsung Museum of Art (2015), Aquatopia, The Imaginary of the Ocean Deep, at Nottingham Contemporary and Tate St. Ives (2013), Nightfall, MODEM Centre for Contemporary Art, Hungary, travelling to Galerie Rudolfinum, Prague (2012), Nothing in the World But Youth, Turner Contemporary, Margate (2011), Busan Biennale, Korea (2008), Like Color in Pictures, Aspen Art Museum (2007), Ideal Worlds - New Romanticism in Contemporary Art, Schirn Kunsthalle, Frankfurt (2005), Whitney Biennial (2004), and The Museum of Contemporary Art, North Miami (2002).

The question has haunted Bloom since her first imaginary museum, The Reign of Narcissism in 1989.

He was friends with Joseph Beuys, and his imaginary museum looks ahead to the critical stance of a museum for Barbara Bloom and Postmodernism's «Pictures generation.»

Group exhibitions include Hue & Cry, Sotheby's S 2, New York, NY; Idealizing the Imaginary: Invention and Illusion in Contemporary Painting, Oakland University, Rochester, MI; A Painting Show, Harris Lieberman, New York, NY; Third Thoughts, CCA Andratx, Mallorca, Spain; Borderland Abstraction, Bemis Center for Contemporary Arts, Omaha, NE; So Athletic, Kunstverein Rosa - Luxemburg - Platz, Berlin, Germany; Quick While Still, Motus Fort, Tokyo, Japan; Platinum Metre, Aschenbach & Hofland, Amsterdam, NL; and Informal Relations, Indianapolis Museum of Contemporary Art, Indianapolis, IN.

Exploring these themes, this year's Frieze Talks features Claudia Rankine — 2016 MacArthur Fellow and winner of the 2017 Bobbitt National Poetry Prize for her collection Citizen: An American Lyric — discussing her writing and her newly - founded Racial Imaginary Institute; a panel on art and social commitment chaired by Shuddhabrata Sengupta of Raqs Media Collective (curators of the 11th Shanghai Biennial, «Why Not Ask Again») and featuring artists Tania Bruguera, Anri Sala and — ahead of her major project with Philadelphia Museum — Jeanne van Heeswijk; and a conversation on «complicating the Modern» with Ann Temkin, Marie - Jose ́e and Henry Kravis Chief Curator of Painting and Sculpture at MoMA.

One of the last paintings of Pope Pius XII held in private hands, the others are housed in major museum collections including Pope II, 1951 (Kunsthalle Mannheim, Mannheim), Figure Sitting, 1955 (Stedelijk Museum voor Actuele Kunst, Ghent) and Study (Imaginary Portrait of Pope Pius XII), 1955 (Sainsbury Centre for Visual Arts, Normuseum collections including Pope II, 1951 (Kunsthalle Mannheim, Mannheim), Figure Sitting, 1955 (Stedelijk Museum voor Actuele Kunst, Ghent) and Study (Imaginary Portrait of Pope Pius XII), 1955 (Sainsbury Centre for Visual Arts, NorMuseum voor Actuele Kunst, Ghent) and Study (Imaginary Portrait of Pope Pius XII), 1955 (Sainsbury Centre for Visual Arts, Norwich).

2005 Family Legacies: The Art of Betye, Alison and Lezley Saar, Ackland Art Museum, University of North Carolina, Chapel Hill, NC; Pasadena Art Center, Pasadena, CA; San José Museum of Art, San José, CA; Palmer Art Museum, Pennsylvania State University, University Park, PA Back to Black: Art, Cinema and the Racial Imaginary, The Whitechapel Art Gallery, London, England; New Art Gallery, Warsall, England Eye Contact, American Painting and Drawing, Michael Rosenfeld Gallery, New York, NY Syncopated Rhythms: 20th Century African American Art from the George and Joyce Wein Collection, Boston University Art Gallery, Boston, MA Art of Engagement, Jack Rutberg Fine Arts, Los Angeles, CA How American Women Artists Invented Postmodernism: 1970 — 1975, Mason Gross School of the Arts Galleries, Rutgers University, New Brunswick, NJ

Megan Abrahams writes about the work of Sarah Cain whose installation The Imaginary Architecture of Love was recently on view at the Contemporary Art Museum (CAM), Raleigh, North Carolina.

Sarah Cain, The Imaginary Architecture of Love at the Contemporary Art Museum (courtesy of the artist and CAM Raleigh)

Imaginary Coordinates, published on the occasion of an exhibition originating at Chicago's Spertus Museum, juxtaposes the museum's extensive collection of antique Holy Land maps with contemporary artwork by Israeli and Palestinian women (including Ayreen Anastas, Yael Bartana, Mona Hatoum, Emily Jacir, Sigalit Landau, Enas Mutthafar, Michal Rovner and Shirley Shor) to explore issues of national identity, borders and the critical disparity between maps and lived experMuseum, juxtaposes the museum's extensive collection of antique Holy Land maps with contemporary artwork by Israeli and Palestinian women (including Ayreen Anastas, Yael Bartana, Mona Hatoum, Emily Jacir, Sigalit Landau, Enas Mutthafar, Michal Rovner and Shirley Shor) to explore issues of national identity, borders and the critical disparity between maps and lived expermuseum's extensive collection of antique Holy Land maps with contemporary artwork by Israeli and Palestinian women (including Ayreen Anastas, Yael Bartana, Mona Hatoum, Emily Jacir, Sigalit Landau, Enas Mutthafar, Michal Rovner and Shirley Shor) to explore issues of national identity, borders and the critical disparity between maps and lived experience.

«The Towering Inferno: The Babel Trilogy,» University of Tel Aviv, Tel Aviv, Israel, January 21, 2014 — January 30, 2014; catalogue «Codex,» CCA Wattis Institute, San Francisco, CA, January 23 — March 29, 2014 «Imaginary Portraits: Prince Igor,» Gallery Met, The Metropolitan Opera, New York, NY, January 15 — May 10, 2014 2013 «Art and Its Discontents,» University of California Santa Barbara Art Museum, Santa Barbara, CA, October 19 — December 13, 2013 «TACET,» Museum of Fine Art Dole, Dole France, June 22 — Spetember 8, 2013 «Imitation of Christ,» The Hammer Museum, Los Angeles, May 18 - August 18, 2013 «The Whole Earth: California and the Disappearance of the Outside,» Haus der Kulturen der Welt, Berlin, Germany, April 26 — July 1, 2013 «Art Geneve,» Suisse Romande, Geneva, Switzerland, January 31 - March 3, 2013 «Set Pieces,» Cardi Black Box, Milan, Italy, February 2013 «The Circle Walked Casually,» Deutsche Bank KunstHalle, Berlin, Germany, November 28, 2013 — March 2, 2014 2012 «Letters From Los Angeles,» Jack Rutberg Fine Arts, Los Angeles, CA, November 17 — December 22, «Tracing the Century: Drawing from the Tate Collection,» Tate Liverpool, Liverpool, England, November 16 — January 20, 2013 «This Will Have Been: Art, Love, & Politics in the 1980s,» Museum of Contemporary Art (MCA), Chicago, IL, February 11 — June 3, 2012; travels to Walker Art Center, Minneapolis, MN, June 30 — September 30, 2012; travels to Institute for Contemporary Art (ICA), Boston, MA, October 2012 — January 2013 «In Numbers,» Institute of Contemporary Art, London, England, January 25 — March 18, 2012 «Self - portraits,» Louisiana Museum of Modern Art, Humlebaek, Denmark, September 14, 2012 - January 13, 2013 «Behold America!»

He has written several articles in books and art catalogues, among others: «Strindentism and Urban Imaginaries» for the catalogue Avant - garde in Mexico, 1915 - 1940 (National Museum of Art, 2013); «New narrative strategies: the works of Salvador Elizondo» for the catalogue Defying stability: artistic processes in Mexico, 1952 - 1967 (MUAC, 2014) and «Sonorama.

, ArtPharmacy (Blog), June 12 Elisa della Barba, «What I loved about Venice Biennale 2013», Swide, June 2 Juliette Soulez, «Le Future Generation Art Prize remis a Venise», Blouin Artinfo, May 31 Charlotte Higgins, «Venice Biennale Diary: dancing strippers and inflatable targets», The Guardian On Culture Blog, May 31 Vincenzo Latronico, «Il Palazzo Enciclopedico», Art Agenda, May 31 Marcus Field, «The Venice Biennale preview: Let the art games commence», The Independent, May 18 Joost Vandebrug, «Lynette Yiadom - Boakye», L'Uomo Vogue, No. 441, May / June «Lucy Mayes, «Lynette Yiadom - Boakye», a Ruskin Magazine, Vol.3, pp. 38 - 39 Rebecca Jagoe, «Lynette Yiadom - Boakye: Portraits Without a Subject», The Culture Trip, May Lynette Yiadom - Boakye, «Lynette Yiadom - Boakye on Walter Richard Sickert's Miss Gwen Ffrangcon - Davies as Isabella of France (1932)», Tate etc., Issue 28, Summer, p. 83 «Turner Prize - nominated Brit has art at Utah museum», Standard Examiner, May 1 Matilda Battersby, «Imaginary portrait painter Lynette Yiadom - Boakye becomes first black woman shortlisted for Turner Prize 2013», The Independent, April 25 Nick Clark, «David Shrigley's fine line between art and fun nominated for Turner Prize», The Independent, April 25 Charlotte Higgins, «Turner prize 2013: a shortlist strong on wit and charm», guardian.co.uk April 25 Charlotte Higgins, «Turner prize 2013 shortlist takes a mischievous turn», guardian.co.uk, April 25 Adrian Searle, «Turner prize 2013 shortlist: Tino Sehgal dances to the fore», guardian.co.uk, April 25 Allan Kozinn, «Four Artists Named as Finalists for Britain's Turner Prize», The New York Times, April 25 Coline Milliard, «A Crop of Many Firsts: 2013 Turner Prize Shortlist Announced», Artinfo, April 25 Sam Phillips, «Former RA Schools student nominated for Turner Prize», RA Blog, April 25 «Turner Prize Shortlist 2013», artlyst, April 25 «Turner Prize Nominations Announced: David Shrigley, Tino Sehgal, Lynette Yiadom - Boakye and Laure Prouvost Up For Award», Huffpost Arts & Culture, April 25 Hannah Furness, «Turner Prize 2013: a dead dog, headless drummers and the first «live encounter» entry», Telegraph, April 25 Hannah Furness, «Turner Prize 2013: The public will question whether this is art, judge admits», Telegraph, April 25 Julia Halperin, «Turner Prize shortlist announced», The Art Newspaper, April 25 Brian Ferguson, «Turner Prize nomination for David Shrigley», Scotsman.com, April 25 «Former Falmouth University student shortlisted for Turner Prize», The Cornishman, April 29 «Trickfilme und der Geschmack der Sonne», Spiegel Online, April 25 Dominique Poiret, «La Francaise Laure Prouvost en lice pour le Turner Prize», Liberation, April 26 Louise Jury, «Turner Prize: black humour artist David Shrigley is finally taken seriously by judges», London Evening Standard, April 25 «Turner Prize 2013: See nominees» work including dead dog, grave shopping list and even some paintings», Mirror, April 25 Henry Muttisse, «It's the Turner demise», The Sun, April 25 «Imaginary portrait painter up for Turner Prize», BBC News, April 25 Farah Nayeri, «Tate's Crowd Artist Sehgal Shortlisted for Turner Prize», Bloomberg Businessweek, April 25 «Turner Prize finalists mix humour and whimsy», CBC News, April 25 Richard Moss, «Turner Prize 2013 shortlist revealed for Derry - Londonderry», Culture24, April 25 «David Shrigley makes 2013 Turner Prize shortlist», Design Week, April 25 «The Future Generation Art Prize@Venice 2013», e-flux.com, April 21 Skye Sherwin, «Lynette Yiadom - Boakye», The Guardian Guide, March 2 - 8, p. 36 Amie Tullius, «Seasoned by Whitney Tassie», 15 Bytes, March «ARTINFO UK's Top 3 Exhibitions Opening This Week, ARTINFO.com, February 25 Orlando Reade, «Whose Oyster Is This World?»

He has been included in group exhibitions including Screen Play: Life in an Animated World, Albright - Knox Art Gallery, Buffalo, NY (2015); the New Museum Triennial Surround Audience, New York (2015); Speculations on Anonymous Materials, Kunsthalle Fridericianum, Kassel, Germany (2013); Imagine the Imaginary, Palais de Tokyo (2013); The Imaginary Museum, Kunstverein München, Munich (2013); and Memery: Imitation, Memory, and Internet Culture, Massachusetts Museum of Contemporary Art, North Adams, MA (2011).