The exhibition will be accompanied by a fully illustrated catalogue with an essay by Francis Hodgson, Professor in the Culture of Photography at the University of Brighton and
photography critic of the Financial Times
Cole is
the photography critic of the New York Times Magazine and an award - winning novelist (Open City) and essay writer (Known and Strange Things).
Teju Cole is a writer, art historian, photographer, and
the photography critic of the New York Times Magazine.
Not exact matches
When it comes to my own
photography, I'm my harshest
critic, but I'm happy with most
of the photos as well as the fabulous job the designer did with the layout and cover.
«They are direct descendants
of the physiognomic tradition,» says
photography critic Francis Hodgson
of Penn's skulls.
In selecting a director
of photography for his haunting, elegiacal war drama, Malick chose two - time Academy Award - winning director
of photography John Toll, ASC (Legends
of the Fall, Braveheart), whose work on The Thin Red Line recently earned him both the New York Film
Critics» and National Society
of Film
Critics» awards for Best Cinematography.
There is a commentary By Director L.Q. Jones, Director
of Photography John Arthur Morrill and
critic Charles Champlin and lastly there are some Vintage Radio Spots.
Special Features New 4K digital restoration New interview with cinematographer John Bailey about director
of photography Conrad Hall's work in the film New interview with film historian Bobbi O'Steen on the film's editing New interview with film
critic and jazz historian Gary Giddins about Quincy Jones's music for the film New interview with writer Douglass K. Daniel on director Richard Brooks Interview with Brooks from a 1998 episode
of the French television series «Cinema Cinemas» «With Love From Truman,» a short 1966 documentary featuring novelist Truman Capote, directed by Albert and David Maysles Two archival NBC interviews with Capote: one following the author on a 1966 visit to Holcomb, Kansas, and the other conducted by Barbara Walters in 1967 Trailer Plus: An essay by
critic Chris Fujiwara
Production companies: Matchgirl Pictures, Gloria Sanchez Productions, Meridian Content, in association with NHK Cast: Shinobu Terajima, Josh Hartnett, Kaho Minami, Koji Yakusho, Shioli Kutsuna, Megan Mullally, Reiko Aylesworth Director: Atsuko Hirayanagi Screenwriters: Atsuko Hirayanagi, Boris Frumin Producers: Han West, Yukie Kito, Jessica Elbaum, Atsuko Hirayanagi Executive producers: Meileen Choo, Razmig Hovaghimian, Will Ferrell, Adam McKay Director
of photography: Paula Huidobro Production designers: Norifumi Ataka, Jason Hougaard Costume designer: Masae Miyamoto Music: Erik Friedlander Editor: Kate Hickey Casting: Emily Schweber Venue: Cannes Film Festival (
Critics Week) Sales: Elle Driver, UTA
Running time: 97 minutes Distributor: Criterion Collection DVD Extras: A new digital transfer supervised and approved by director
of photography; «Ask Todd,» an audio Q&A with director Todd Solondz; Making «Life During Wartime,» a new documentary featuring interviews with actors; a new video piece in which Lachman discusses his work on the film; the original theatrical trailer; and a booklet featuring an essay by film
critic David Sterritt.
Special Features 2K digital transfer, supervised by director
of photography Yorick Le Saux and approved by director Olivier Assayas, with 5.1 surround DTS - HD Master Audio soundtrack on the Blu - ray New interview with Assayas 2016 Cannes Film Festival press conference featuring actor Kristen Stewart and other members
of the film's cast and crew Theatrical trailer PLUS: An essay by
critic Glenn Kenny
China: Portrait
of a Country compiled by Pulitzer Prize - winning photojournalist Liu Heung Shing, and with thoughtful, intelligently nuanced essays on Chinese history and
photography by journalist James Kynge and art
critic Karen Smith, focuses on an often mysterious and complex culture.
Anthony Allen, Associate Director, Paula Cooper Natalie Bell, Assistant Curator, New Museum Heather Darcy Bhandari, Adjunct Lecturer, Visual Art, Brown University Marina Chao, Assistant Curator, International Center
of Photography Jean Cooney, Project Manager, Artist Commissions, Creative Time Sean Corcoran, Curator
of Photographs and Prints, Museum
of the City
of New York Lisa Dent, Director
of Resources & Award Programs, Creative Capital Kareem Estefan, Independent Art
Critic and Editor - at - large, Creative Time Reports Hitomi Iwasaki, Director of Exhibitions and Curator, Queens Museum Flora Katz, Independent Curator Theodore Kerr, Writer, Hyperallergic William Petroni, Managing Director, Cristin Tierney Gallery Heather Reyes, Exhibitions and Collection Manager, The Bronx Museum of the Arts Matthew Schum, Independent Curator Anthony Allen, Associate Director, Paula Cooper Marco Antonini, Executive Director, NurtureArt and Writer Mark Beasley, Curator, Performa George Bolster, The Shelley & Donald Rubin Foundation Gary Carrion - Murayari, Kraus Family Curator, New Museum Susan Cross, Curator, Mass MoCA Clément Delépine, Assistant Curator, Swiss Institue Bridget Donahue, Owner / Director, Bridget Donahue Gallery Lisa Dent, Director of Resources & Award Programs, Creative Capital Elizabeth M. Grady, PhD, Programs Director, A Blade of Grass Stamatina Gregory, independent curator and critic Janice Guy, Owner, Murray Guy Nicole Hayes, Curator, The Fields Sculpture Park, Art Omi Amanda Hunt, Assistant Curator, Studio Museum Alexis Johnson, Associate Director, Paula Cooper Ruba Katrib, Curator, Sculpture Center Vitaly Komar, Artist Melanie Kress, High Line Art Curatorial Fellow, High Line Art Thomas Lax, Associate Curator in the Department of Media and Performance Art, MoMA Barbara London, Independent Curator, formerly of MoMA Matthew Lyons, Curator, The Kitchen Julie McKim, Curator, Galapagos Christiane Paul, Curator of New Media, Whitney Museum Christian Rattemeyer, The Harvey S. Shipley Miller Associate Curator, Department of Drawings and Prints, MoMA Sara Reisman, Artistic Director, The Shelley & Donald Rubin Foundation Magda Sawon, Owner, Postmasters Nato Thompson, Chief Curator, Creative Time Nat Trotman, Associate Curator, Guggenheim Museum Eugenie Tsai, John and Barbara Vogelstein Curator of Contemporary Art, Brooklyn
Critic and Editor - at - large, Creative Time Reports Hitomi Iwasaki, Director
of Exhibitions and Curator, Queens Museum Flora Katz, Independent Curator Theodore Kerr, Writer, Hyperallergic William Petroni, Managing Director, Cristin Tierney Gallery Heather Reyes, Exhibitions and Collection Manager, The Bronx Museum
of the Arts Matthew Schum, Independent Curator Anthony Allen, Associate Director, Paula Cooper Marco Antonini, Executive Director, NurtureArt and Writer Mark Beasley, Curator, Performa George Bolster, The Shelley & Donald Rubin Foundation Gary Carrion - Murayari, Kraus Family Curator, New Museum Susan Cross, Curator, Mass MoCA Clément Delépine, Assistant Curator, Swiss Institue Bridget Donahue, Owner / Director, Bridget Donahue Gallery Lisa Dent, Director
of Resources & Award Programs, Creative Capital Elizabeth M. Grady, PhD, Programs Director, A Blade
of Grass Stamatina Gregory, independent curator and
critic Janice Guy, Owner, Murray Guy Nicole Hayes, Curator, The Fields Sculpture Park, Art Omi Amanda Hunt, Assistant Curator, Studio Museum Alexis Johnson, Associate Director, Paula Cooper Ruba Katrib, Curator, Sculpture Center Vitaly Komar, Artist Melanie Kress, High Line Art Curatorial Fellow, High Line Art Thomas Lax, Associate Curator in the Department of Media and Performance Art, MoMA Barbara London, Independent Curator, formerly of MoMA Matthew Lyons, Curator, The Kitchen Julie McKim, Curator, Galapagos Christiane Paul, Curator of New Media, Whitney Museum Christian Rattemeyer, The Harvey S. Shipley Miller Associate Curator, Department of Drawings and Prints, MoMA Sara Reisman, Artistic Director, The Shelley & Donald Rubin Foundation Magda Sawon, Owner, Postmasters Nato Thompson, Chief Curator, Creative Time Nat Trotman, Associate Curator, Guggenheim Museum Eugenie Tsai, John and Barbara Vogelstein Curator of Contemporary Art, Brooklyn
critic Janice Guy, Owner, Murray Guy Nicole Hayes, Curator, The Fields Sculpture Park, Art Omi Amanda Hunt, Assistant Curator, Studio Museum Alexis Johnson, Associate Director, Paula Cooper Ruba Katrib, Curator, Sculpture Center Vitaly Komar, Artist Melanie Kress, High Line Art Curatorial Fellow, High Line Art Thomas Lax, Associate Curator in the Department
of Media and Performance Art, MoMA Barbara London, Independent Curator, formerly
of MoMA Matthew Lyons, Curator, The Kitchen Julie McKim, Curator, Galapagos Christiane Paul, Curator
of New Media, Whitney Museum Christian Rattemeyer, The Harvey S. Shipley Miller Associate Curator, Department
of Drawings and Prints, MoMA Sara Reisman, Artistic Director, The Shelley & Donald Rubin Foundation Magda Sawon, Owner, Postmasters Nato Thompson, Chief Curator, Creative Time Nat Trotman, Associate Curator, Guggenheim Museum Eugenie Tsai, John and Barbara Vogelstein Curator
of Contemporary Art, Brooklyn Museum
In 2011, one
of Borek's solo exhibitions was ranked as one
of the ten best
photography shows in Washington, by
photography critic Louis Jacobson.
We discuss, among other topics, about
photography in the Middle East with Peggy Sue Amison, artistic director at East Wing; net art and networked cultures with Josephine Bosma, Amsterdam - based journalist and
critic; urban digital art and criticality in the media city with curator and researcher Tanya Toft; art and technology with curator Chris Romero; the politics
of surveillance and international security with political scientist David Barnard - Wills; art and architecture with Maaike Lauwaert, visual arts curator at Stroom, an independent centre for art and architecture in the Netherlands; the intersections
of art, law and science with curator and cultural manager Daniela Silvestrin; the architecture
of sacred places with curator Jumana Ghouth; the historical legacy
of feminism today with Betty Tompkins and Marilyn Minter; hacktivism and net culture with curator and researcher Tatiana Bazzichelli; culture, place and memory with Norie Neumark, director
of the Centre for Creative Arts in Melbourne; anthropology and the tactical use
of post-digital technologies with artist and philosopher Mitra Azar; or feminism and the digital arts with curator Tina Sauerländer.
The FotoFocus featured programming included five days
of lectures, panel discussions, screenings, and performances with curators,
critics, and art world professionals, all focused on one common theme:
Photography in Dialogue.
As Charlotte Cotton,
critic and former curator
of photographs at the Victoria and Albert Museum (London) as well as the Wallis Annenberg Department
of Photographs at the Los Angeles County Museum
of Art, writes in The Photograph as Contemporary Art (World
of Art): «Harris makes a map
of visual and ideological connections... blending high criticality and personal narrative to suggest that all
photography inherently carries representational meaning beyond the intent or making
of the photographer.»
A number
of events expand on the themes explored in the exhibition including a tour led by the exhibition curator David Campany (20 July, 6.30 pm, Free); the exhibition's curator David Campany is joined by writer and
critic Brian Dillon, artists Xavier Ribas and Eva Stenram for a symposium discussing notions
of time, perception and the history
of photography (17 June, 2 - 6 pm, # 15 / # 12.50 concs); and award - winning essay film - maker Grant Gee presents his study
of the late German writer W.G. Sebald which is a multi-layered exploration
of place, memory, longing and dust (29 June, 7 pm, # 9.50 / # 7.50 concs).
He has been a visiting lecturer at Columbia University's Visual Arts MFA, a mentor for the Art Institute
of Boston, and a visiting
photography critic at the Yale School
of Architecture.
At the talk on the day
of the press preview, Bajac spoke about the parallels between the Post-Internet age and the cinematic culture
of Germany in the 1920s and»30s, the context in which the early film
critic Siegfried Kracauer called still
photography an «outmoded medium.»
After giving a lecture at the University
of Central Lancashire (UCLan) and New Art Exchange in March as part
of her participation to FORMAT International
Photography Festival, Zanele Muholi is back to London for a conversation with journalist,
critic and BBC broadcaster Bidisha on 26 May.
For
critics of photography, Lewis Carroll has served as everything from moral theater to soft - core porn.
Followed by Talk: Christopher Finch on the
Photography of Chuck Close Author of Chuck Close: Life, artist, critic, and former curator of the Walker Art Center Christopher Finch will talk about the photography of C
Photography of Chuck Close Author
of Chuck Close: Life, artist,
critic, and former curator
of the Walker Art Center Christopher Finch will talk about the
photography of C
photography of Chuck Close.
Photography The critic Harold Rosenberg's definition of Abstract Expressionism as «action painting» in 1952 excluded p
Photography The
critic Harold Rosenberg's definition
of Abstract Expressionism as «action painting» in 1952 excluded
photographyphotography.
Despite using purist notions
of abstract form and color that date back to 1950s art
critic Clement Greenberg's domineering brand
of New York School formalism, Lawson fashions nothing short
of a vicious attack on
photography's «objective eye» via these modestly sized canvases.
Recent projects include the Biennial Exhibition and Silent Benefit Auction for AIDS Survival Project
of Atlanta and a joint exhibition with Atlanta College
of Art
Photography Program juried by New York art
critic and writer Jan Avgikos.
Between 1982 - 1992, Mr. Stahel was a freelance curator and art
critic, editor
of art magazine du, and lecturer in history
of art and
photography at the School
of Art and Design in Zürich.
Highlights include a 1927 portrait
of the writer and
photography critic Pierre MacOrlan by modernist André Kertész; Vito Acconci's conceptual works Step Piece and Waterways: 4 Saliva Studies (both 1971); and examples
of American street
photography.
Professional 2010 Visiting artist, The Williston Northampton School, Northampton, MA 2009 Artist talk, Daniel Cooney Fine Art, NY 2008 Visiting artist, International Center
of Photography, NY 2008 Visiting Artist, Fashion Institute
of Technology, NY 2007 Visiting artist, Long Island University, CW Post Campus, Brookville, NY 2007 Artist talk, Bakery Photographic Collective, Portland, ME 2007 Visiting artist, Cooper Union School
of Art, NY 2005 Visiting artist, Parsons School
of Design, New York, NY 2000 Associate professor, Hofstra University, Long Island, NY 1999 Visiting artist, Parsons School
of Design, New York, NY 1998 Visiting
critic, Parsons School
of Design, New York, NY 1997 Visiting
critic, Yale School
of Art, New Haven, CT 1994 Visiting artist, International Center
of Photography, New York, NY
Critic Clement Greenberg, a nonfan, was appalled when MoMA honored O'Keeffe with a retrospective in 1946 — one
of its first solo shows for a woman; her work was «little more than tinted
photography.»
«Who, What & How
of Moderns: The Two Poles
of Photography and Painting panelist David Cohen is an art
critic, art historian and the editor and publisher
of ArtCritical, an online magazine
of art and ideas.
Featuring essays and unpublished texts by
critics in contemporary and media arts, including Joan Fontcuberta, Derrick de Kerckhove, Suzanne Paquet, Fred Ritchin, and David Tomas, the publication was designed to challenge a re-examination
of what
photography is today, in a time when communication and transmission
of visual data in cyberspace, the boundaries
of virtual reality, and the Internet as a global public space proliferate images and reflect an imaginal reshaping
of the world.
She received the
Photography Critics Award from the Centro de Arte y Comunicación (CAYC, 1989) and was a recipient
of the Kuitca Scholarship in 1994, and then again in 1997.
Documents contextualises the Works with original artists» statements and interviews, often reproduced in book form for the first time, plus writings on art and
photography by leading
critics, writers and theorists
of the late twentieth century.
Since the mid-1960s when he started out as a fledgling
critic, Dan Graham has carved out a unique role for himself, expanding the scope
of the Conceptual artist to incorporate art criticism, music criticism,
photography and architecture.
It is a 176 - page book featuring the essays by Kristen Gresh, Estrellita and Yousuf Karash, assistant curator
of Photographs at the Museum
of Fine Arts, Boston, and Michket Krifa, an independent curator and art
critic of Middle Eastern and African
photography.
Minor White's contribution to the field
of photography was formidable; in addition to being a master craftsman, he was also a highly influential writer,
critic, curator, editor and life - long teacher.
Curtis Bell, president
of the American Federation
of Photography and an outspoken
critic of Stieglitz, organized an exhibition called «The First American Photographic Salon» at the Clausen Galleries in New York.
Federica Chiocchetti Federica Chiocchetti (b. 1983) is the founding director
of Photocaptionist, amongst a breadth
of other achievements, including being an avid
photography critic, curator and editor, whilst currently working on a PhD in
photography at the University
of Westminster.
Symposium subjects included, among other things, discussions
of Alfred Stieglitz as a major proponent and supporter
of early American Modernism, the ways in which art
critic Clement Greenburg's definition
of Modernism shaped thinking about this issue for generations yet was exclusive to issues
of race, gender and politics, the role
of photography figured prominently into the dissemination
of the term «modern,» and the many ways
photography has played a major role in shaping the history
of Modernism in America.
«Aggressively Fragile» looks at artist's battle with two bouts
of cancer BY CANDACE CHANEY Contributing Arts
Critic The walls
of MS Rezny Studio and Gallery are lined with the stirring, sometimes otherworldly images
of Melissa T. Hall's conceptual
photography.
She participated as a co-writer
of twenty Artists and
Critics and has published a book, On
Photography.
David Walsh, Elizabeth Pearce, Jane Clark 2013 ISBN 9780980805888 Lindsay Seers, George Barber, Frieze, January 2013 One
of Many, Adrian Dannatt, Artist Comes First, Jean - Marc Bustamante (ed), Toulouse International Art Festival (exhibition catalogue), June 2013 All the World's a Camera: Notes on non-human
photography, Joanna Zylinska, Drone ISBN 978 -2-9808020-5-8 (pg 168 - 172) 2013 Lindsay Seers, Artangel at the Tin Tabernacle - Jo Applin, ArtForum, December 2012 Lindsay Seers, Martin Herbert, Art Monthly, October 2012 Exhibition, Ben Luke, Evening Standard, (pg 60 - 61) 20 September 2012 Lindsay Seers @ The Tin Tabernacle, Sophie Risner, Whitehot Magazine, September 2012 Artist Profile: Lindsay Seers, Beverly Knowles, this is tomorrow, 12 September 2012 Dream Voyage on a Ghost Ship, Richard Cork, Financial Times, (pg 15) 11 September 2012 Nowhere Less Now, Amy Dawson, Metro (pg 56) 7 September 2012 Voyage of Discovery, Helen Sumpter, Time Out, (pg 42) 6 - 12 September 2012 Nowhere Less Now, Rachel Cooke, The Observer, (pg 33) 2 September 2012 Divine Interventions, Georgia Dehn, Telegraph Magazine, 25 August 2012 Eine Buhne fur das Ich, Annette Hoffmann, Der Sonntag, 25 March 2012 Das Identitätsvakuum - Dietrich Roeschmann, Badische Zeitung, 27 March 2012 Ich ist ein anderer - Kunstverein Freiburg - Badische Zeitung, 21 March 2012 Action Painting - Jacob Lundström, FLM NR.16, March 2012 Dröm - fabriken - Peter Cornell, Kultur, 21 February 2012 Vita duken lockar Konstnärer - Fredrik Söderling, Dagens Nyheter (pg 4 - 5) 15 February 2012 Personligen Präglad - Clemens Poellinger, SvD söndag, (pg 4 - 5) 12 February 2012 Uppshippna hyllningar till - Helena Lindblad, Dagens Nyheter (pg 8 - 9) 9 February 2012 Bonniers Konsthall - Sara Schedin, Scan Magazine, (pg 48 - 9) Febuary 2012 Ausstellungen - Monopol, (pg 120) February 2012 Modeprovokatörer plockas up par museerna - Susanna Strömquist, Dagens Nyheter (pg 8 - 9) January 2012 Promosing in Kabelvåg - Seers» «Cyclops [Monocular] at LIAF, Kjetil Røed, Aftenposten, 10 September 2011 Reconstructing the Past - Lindsay Seers» Photographic Narrative, Lee Halpin, Novel ², May / June 2011 Lindsay Seers, Oliver Basciano, Art Review, May 2011 Lindsay Seers, Jen Hutton, ArtForum Picks (online), April 2011 Lindsay Seers: an impossibly oddball autobiography, Murray Whyte, The Toronto Star, 13 April 2011 The Projectionist, David Balzer, Eye Weekly, 6 April 2011 dis - covery, exhibition catalogue, 2011 Lindsay Seers: It has to be this way ², Paul Usherwood, Art Monthly, April 2011 Lindsay Seers: Gateshead, Robert Clark, Guardian: The Guide, February 2011 It has to be this way ², 2011, novella published by Matt's Gallery, London Neo-Narration: stories of art, Mike Brennan, modernedition.com, 2010 Steps into the Arcane, ISBN 978 -3-869841-105-2, published 2010 It has to be this way1.5, novella 2010, published by Matt's Gallery, London Jarman Award, Laura McLean - Ferris, The Guardian, September 2009 Top Ten, ArtForum, Summer 2009 Reel to Real - On the material pleasure of film, Colin Perry, Art Monthly, July / August 2009 Remember Me, Tom Morton, Frieze, June / July / August 2009 It has to be this way, 2009, published by Matt's Gallery, London Lindsay Seers at Matt's Gallery, Gilda Williams, ArtForum, May 2009 Lindsay Seers: It has to be this way — Matt's Gallery, Chris Fite - Wassilak, Frieze, April 2009 Lindsay Seers: it has to be this way, Rebecca Geldard, Art Review, April 2009 Review of Altermodern - Tate Triennial 2009, Jorg Heiser, Frieze, April 2009 Tate Triennial: «Altermodern» — Tate Britain Feb 3 — April 26, 2009, Colin Perry, Art Monthly, March 2009 Lindsay Seers: It has to be this way (Matt's Gallery, London), Jennifer Thatcher, Art Monthly, March 2009 No sharks here, but plenty to bite on, Tom Lubbock, The Independent, 6 February 2009 Lindsay Seers: Tate Triennial 2009: Altermodern, Nicolas Bourriaud, Tate Channel, 2009 «Altermodern» review: «The richest and most generous Tate Triennial yet», Adrian Searle, The Guardian, Feb 2009 Critics» Choice for exhibition at Matt's Gallery, Time Out London, January 29 — February 4 2009 In the studio, Time Out London, January 22 — 28 2009 Lindsay Seers Swallowing Black Maria at SMART Project Space Amsterdam, Michael Gibbs, Art Monthly, Oct 2007 Human Camera, June 2007, Monograph book Published by Article Press Lindsay Seers, Gasworks, London, Pil and Galia Kollectiv, Art Papers (USA), February 2006 Review of Wandering Rocks, Time Out London, February 1 — 8, 2006 Aften Posten, Norway, Front cover and pages 6 + 7 for show at UKS Artistic sleight of hand — «Eyes of Others» at the Gallery of Photography, Cristin Leach, Irish Times, 25 Nov 2005 There is Always an Alternative, Catalogue (Dave Beech / Mark Hutchinson) 2005 Wunderkammer, Catalogue, The Collection, October 2005 Lindsay Seers» «We Saw You Coming»;» 20,000 Leagues Under the Sea»; «Apollo 13»; «2001», Lisa Panting, Sphere Catalogue (pg 46 - 50), Presentation House Gallery, 2004 Haunted Media (Site Gallery, Sheffield), Art Monthly, April 2004 Miser and Now, essays in issues 1, 2 + 3 Expressive Recal l - «You said that without moving you lips», Limerick City Gallery of Art, Dougal McKenzie, Source 37, Winter 2003 Braziers International Artists Workshop Catalogue, 2002 Review of Lost Collection of an Invisible Man, Art Monthly, April 2003 Slade - Hannah Collins, Chris Muller, Lindsay Seers, Elisa Sighicelli, Catherine Yass, (A journal on photography, essay by John Hilliard), June 2002 Radical Philosophy, 113, Cover and pages 26/30, June 2002 Elle magazine, June 2002, page 92 - 93 Review, Dave Beech, Art Monthly, June 2002 Nausea: encounters with ugliness, Catalogue Lindsay Seers, Artists Eye, BBC Programme by Rory Logsdail The Fire Station, a film by William Raban and a catalogue by Acme The Double, Catalogue from the Lowry, Lowry Press, July 2000 Contemporary Visual Arts, Roy Exley, June 1999 Hot Shoe, Chri
photography, Joanna Zylinska, Drone ISBN 978 -2-9808020-5-8 (pg 168 - 172) 2013 Lindsay Seers, Artangel at the Tin Tabernacle - Jo Applin, ArtForum, December 2012 Lindsay Seers, Martin Herbert, Art Monthly, October 2012 Exhibition, Ben Luke, Evening Standard, (pg 60 - 61) 20 September 2012 Lindsay Seers @ The Tin Tabernacle, Sophie Risner, Whitehot Magazine, September 2012 Artist Profile: Lindsay Seers, Beverly Knowles, this is tomorrow, 12 September 2012 Dream Voyage on a Ghost Ship, Richard Cork, Financial Times, (pg 15) 11 September 2012 Nowhere Less Now, Amy Dawson, Metro (pg 56) 7 September 2012 Voyage
of Discovery, Helen Sumpter, Time Out, (pg 42) 6 - 12 September 2012 Nowhere Less Now, Rachel Cooke, The Observer, (pg 33) 2 September 2012 Divine Interventions, Georgia Dehn, Telegraph Magazine, 25 August 2012 Eine Buhne fur das Ich, Annette Hoffmann, Der Sonntag, 25 March 2012 Das Identitätsvakuum - Dietrich Roeschmann, Badische Zeitung, 27 March 2012 Ich ist ein anderer - Kunstverein Freiburg - Badische Zeitung, 21 March 2012 Action Painting - Jacob Lundström, FLM NR.16, March 2012 Dröm - fabriken - Peter Cornell, Kultur, 21 February 2012 Vita duken lockar Konstnärer - Fredrik Söderling, Dagens Nyheter (pg 4 - 5) 15 February 2012 Personligen Präglad - Clemens Poellinger, SvD söndag, (pg 4 - 5) 12 February 2012 Uppshippna hyllningar till - Helena Lindblad, Dagens Nyheter (pg 8 - 9) 9 February 2012 Bonniers Konsthall - Sara Schedin, Scan Magazine, (pg 48 - 9) Febuary 2012 Ausstellungen - Monopol, (pg 120) February 2012 Modeprovokatörer plockas up par museerna - Susanna Strömquist, Dagens Nyheter (pg 8 - 9) January 2012 Promosing in Kabelvåg - Seers» «Cyclops [Monocular] at LIAF, Kjetil Røed, Aftenposten, 10 September 2011 Reconstructing the Past - Lindsay Seers» Photographic Narrative, Lee Halpin, Novel ², May / June 2011 Lindsay Seers, Oliver Basciano, Art Review, May 2011 Lindsay Seers, Jen Hutton, ArtForum Picks (online), April 2011 Lindsay Seers: an impossibly oddball autobiography, Murray Whyte, The Toronto Star, 13 April 2011 The Projectionist, David Balzer, Eye Weekly, 6 April 2011 dis - covery, exhibition catalogue, 2011 Lindsay Seers: It has to be this way ², Paul Usherwood, Art Monthly, April 2011 Lindsay Seers: Gateshead, Robert Clark, Guardian: The Guide, February 2011 It has to be this way ², 2011, novella published by Matt's Gallery, London Neo-Narration: stories
of art, Mike Brennan, modernedition.com, 2010 Steps into the Arcane, ISBN 978 -3-869841-105-2, published 2010 It has to be this way1.5, novella 2010, published by Matt's Gallery, London Jarman Award, Laura McLean - Ferris, The Guardian, September 2009 Top Ten, ArtForum, Summer 2009 Reel to Real - On the material pleasure
of film, Colin Perry, Art Monthly, July / August 2009 Remember Me, Tom Morton, Frieze, June / July / August 2009 It has to be this way, 2009, published by Matt's Gallery, London Lindsay Seers at Matt's Gallery, Gilda Williams, ArtForum, May 2009 Lindsay Seers: It has to be this way — Matt's Gallery, Chris Fite - Wassilak, Frieze, April 2009 Lindsay Seers: it has to be this way, Rebecca Geldard, Art Review, April 2009 Review
of Altermodern - Tate Triennial 2009, Jorg Heiser, Frieze, April 2009 Tate Triennial: «Altermodern» — Tate Britain Feb 3 — April 26, 2009, Colin Perry, Art Monthly, March 2009 Lindsay Seers: It has to be this way (Matt's Gallery, London), Jennifer Thatcher, Art Monthly, March 2009 No sharks here, but plenty to bite on, Tom Lubbock, The Independent, 6 February 2009 Lindsay Seers: Tate Triennial 2009: Altermodern, Nicolas Bourriaud, Tate Channel, 2009 «Altermodern» review: «The richest and most generous Tate Triennial yet», Adrian Searle, The Guardian, Feb 2009
Critics» Choice for exhibition at Matt's Gallery, Time Out London, January 29 — February 4 2009 In the studio, Time Out London, January 22 — 28 2009 Lindsay Seers Swallowing Black Maria at SMART Project Space Amsterdam, Michael Gibbs, Art Monthly, Oct 2007 Human Camera, June 2007, Monograph book Published by Article Press Lindsay Seers, Gasworks, London, Pil and Galia Kollectiv, Art Papers (USA), February 2006 Review
of Wandering Rocks, Time Out London, February 1 — 8, 2006 Aften Posten, Norway, Front cover and pages 6 + 7 for show at UKS Artistic sleight
of hand — «Eyes
of Others» at the Gallery
of Photography, Cristin Leach, Irish Times, 25 Nov 2005 There is Always an Alternative, Catalogue (Dave Beech / Mark Hutchinson) 2005 Wunderkammer, Catalogue, The Collection, October 2005 Lindsay Seers» «We Saw You Coming»;» 20,000 Leagues Under the Sea»; «Apollo 13»; «2001», Lisa Panting, Sphere Catalogue (pg 46 - 50), Presentation House Gallery, 2004 Haunted Media (Site Gallery, Sheffield), Art Monthly, April 2004 Miser and Now, essays in issues 1, 2 + 3 Expressive Recal l - «You said that without moving you lips», Limerick City Gallery of Art, Dougal McKenzie, Source 37, Winter 2003 Braziers International Artists Workshop Catalogue, 2002 Review of Lost Collection of an Invisible Man, Art Monthly, April 2003 Slade - Hannah Collins, Chris Muller, Lindsay Seers, Elisa Sighicelli, Catherine Yass, (A journal on photography, essay by John Hilliard), June 2002 Radical Philosophy, 113, Cover and pages 26/30, June 2002 Elle magazine, June 2002, page 92 - 93 Review, Dave Beech, Art Monthly, June 2002 Nausea: encounters with ugliness, Catalogue Lindsay Seers, Artists Eye, BBC Programme by Rory Logsdail The Fire Station, a film by William Raban and a catalogue by Acme The Double, Catalogue from the Lowry, Lowry Press, July 2000 Contemporary Visual Arts, Roy Exley, June 1999 Hot Shoe, Chri
Photography, Cristin Leach, Irish Times, 25 Nov 2005 There is Always an Alternative, Catalogue (Dave Beech / Mark Hutchinson) 2005 Wunderkammer, Catalogue, The Collection, October 2005 Lindsay Seers» «We Saw You Coming»;» 20,000 Leagues Under the Sea»; «Apollo 13»; «2001», Lisa Panting, Sphere Catalogue (pg 46 - 50), Presentation House Gallery, 2004 Haunted Media (Site Gallery, Sheffield), Art Monthly, April 2004 Miser and Now, essays in issues 1, 2 + 3 Expressive Recal l - «You said that without moving you lips», Limerick City Gallery
of Art, Dougal McKenzie, Source 37, Winter 2003 Braziers International Artists Workshop Catalogue, 2002 Review
of Lost Collection
of an Invisible Man, Art Monthly, April 2003 Slade - Hannah Collins, Chris Muller, Lindsay Seers, Elisa Sighicelli, Catherine Yass, (A journal on
photography, essay by John Hilliard), June 2002 Radical Philosophy, 113, Cover and pages 26/30, June 2002 Elle magazine, June 2002, page 92 - 93 Review, Dave Beech, Art Monthly, June 2002 Nausea: encounters with ugliness, Catalogue Lindsay Seers, Artists Eye, BBC Programme by Rory Logsdail The Fire Station, a film by William Raban and a catalogue by Acme The Double, Catalogue from the Lowry, Lowry Press, July 2000 Contemporary Visual Arts, Roy Exley, June 1999 Hot Shoe, Chri
photography, essay by John Hilliard), June 2002 Radical Philosophy, 113, Cover and pages 26/30, June 2002 Elle magazine, June 2002, page 92 - 93 Review, Dave Beech, Art Monthly, June 2002 Nausea: encounters with ugliness, Catalogue Lindsay Seers, Artists Eye, BBC Programme by Rory Logsdail The Fire Station, a film by William Raban and a catalogue by Acme The Double, Catalogue from the Lowry, Lowry Press, July 2000 Contemporary Visual Arts, Roy Exley, June 1999 Hot Shoe, Chris Townsend.
Artists» texts and essays by distinguished
critics and writers, chart the evolution
of figurative techniques, from the atelier to the use
of photography, Photoshop, and 3D - modeling programs.
Screening: Don't Blink — Robert Frank at the New York Film Festival The scope
of Robert Frank's 1958 book The Americans has led some
critics to say that it changed the landscape
of American
photography forever.
D'Angelo Lovell Williams is currently finishing up his MFA in
photography at Syracuse University, but the 25 - year - old is already responsible for what the
critic Roberta Smith called «one
of the year's best gallery debuts» last year.
He has been a
critic in
photography at the Yale University School
of Art since 2013.
Taking as his starting point a text by art
critic Jonathan Griffin, Vergnon's talk will investigate
photography's relationship to our view
of the universal, the personal and the cliché.
Bui is currently Adjunct Professor at School
of Visual Arts Graduate Program in Art Criticism & Writings and MFA in
Photography, Video, and Related Media, and Core
Critic at Yale University School
of Art MFA in Painting / Printmaking.
More than 500 students enroll each year in the 45 - plus courses offered by the Program in Visual Arts in painting, drawing, graphic design,
photography, sculpture, film, video, and film history and theory, which are taught by a distinguished faculty
of working artists,
critics, and scholars.