Sentences with phrase «plate color catalogue»
Life On Mars Gallery has also created a 19 - plate color catalogue of his works, including an essay by art historian Robert C. Morgan to accompany the exhibition.
https://bushwickdaily.com/ Not exact matches
Richly illustrated with over 150 color plates, the catalogue features essays that touch on key aspects of her practice and historical reception, as well as an extensive annotated chronology that provides an in - depth exploration of the intersection of her life and art.
The focal point of the catalogue is the painstakingly reproduced color plates of fourteen recent paintings, many of which are depicted several times in various types of light and from multiple angles, allowing the reader to experience the work in a way that is more akin to seeing them in person.
An accompanying exhibition catalogue, featuring dynamic color plates of the work and scholarly essays by the curators as well as the legendary art historian Barbara Rose, provides the cultural context for Moses's mutational practice.
In addition to color plates and illuminating details, the exhibition catalogue includes an essay by Peter Galassi that explores the full range of Wall's artistic and intellectual interests and offers fresh perspectives on one of the most adventurous creative achievements of our time.
Fully illustrated, 76 page exhibition catalogue with 20 color plates and featuring an essay by Dr. David Anfam, Hardcover.
The 1975 Yoseloff retrospective catalogue listed below is very illuminating on these latter developments, and the color plates (which include images of some of the sculptures) are of higher quality than those in the Stanton book.
C1S — Coated on one side (paper or print) C2S — Coated on two sides (paper or print) CA2M — Centro de Arte Dos de Mayo (Madrid) CAA — College Art Association CalArts — California Institute for the Arts CACT — Thessaloniki Center of Contemporary Art CAFA — China Central Academy of Fine Arts (Beijing) CAPC — Contemporary Art Museum (Bordeaux) C.G.A.C. — Centro Galego de Arte Contemporanea (Santiago de Compostela) CIFO — Cisneros Fontanals Art Foundation (Miami) CIMAN — International Committee for Museums and Collections of Modern Art CMYK — Cyan, magenta, yellow, and key (black), which are the primary printing colors CNAP — Centre National des Arts Plastiques (Paris) CoBrA — Copenhagen (Co), Brussels (Br), and Amsterdam (A), a free - spirited Marxist avant - garde movement lasting from 1948 to 1951 featuring the artists Asger Jorn, Christian Dotremont, and Constant, whose countries of origins make up the group's name CoCA — Centre of Contemporary Art Znaki Czasu (Torun) CPIF — Centre Photographique d'Ile - de-France CPLY — The name American artist William N. Copley went by as a painter CP — Cancellation proof (the proof made after an edition is finished as evidence that the artist has defaced the plate) C - Print — Chromogenic color print CR — Catalogue raisonné CTP — Computer to plate, digital printing process
The exhibition is accompanied by a catalogue that includes more than thirty full color plates as well as essays by Anfam and Neil Benezra, director of the San Francisco Museum of Modern Art.
Fully illustrated, 104 page exhibition catalogue with 36 color plates, and featuring essays by Peter Selz and Jessica Scarlata.
Fully illustrated 64 page exhibition catalogue with 32 color plates and an essay by Joseph Jacobs, Softcover.
An accompanying exhibition catalogue, featuring dynamic color plates of the work and scholarly essays by the curators as well as the legendary art historian Barbara Rose, provides the cultural context for Moses's mutational practice.University Art Gallery 712 Arts Plaza Irvine, CA 92697 - 2775 tel. 949 824 9854 fax.
This expanded second edition of the catalogue features additional color plates and an updated design.
Fully illustrated, 48 page exhibition catalogue with 9 color plates, featuring a rare 1960s interview with the artist.
The exhibition, organized by Russell Lord, is accompanied by a catalogue published by Steidl with over 100 color plates from Burtynsky's water series.
The exhibition is accompanied by a fully illustrated catalogue containing an introduction on the subject of the Surrealists» collecting practices, a scholarly two - part essay on the masks and the Surrealists» engagement with them, color plates with catalogue entries, and ample archival material documenting this rich art - historical narrative.
Fully illustrated, 96 page exhibition catalogue with 8 color plates and 37 painting detail images.
Fully illustrated, 60 page exhibition catalogue with 16 color plates and an extensive, illustrated artist chronology.
Published by Michael Rosenfeld Gallery (2014), this fully illustrated, 96 page exhibition catalogue contains 8 color plates and 37 painting detail images.
Fully illustrated, 96 page exhibition catalogue with 35 color plates, featuring an essay by Debra Bricker Balken and an illustrated chronology.
Fully Illustrated, 48 page catalogue with 18 color plates.
Fully illustrated, 68 page exhibition catalogue with 16 color plates, with a foreword by Frederic E. Ossorio, Jr. and an introduction by Harry Cooper, Curator of Modern Art at Fogg Art Museum, Hardcover.
Catalogue will include full - color plates of many of the works on view; commissioned essays by Allison Glenn and Cameron Shaw.
Ed Ruscha Birds, Fish and Offspring In cooperation with Gagosian Gallery April 25 — June 8, 2002 Catalogue available (soft cover) Essay by Paul Ruscha 40 pages, 12 color plates
Brice Marden Classic Paintings March 30 — May 29, 1999 Catalogue available Essay by Robert Pincus - Witten 35 pages, 9 color plates
A fully illustrated catalogue with approximately 20 color plates and an essay by Franklin Sirmans will be available through the gallery.
It presents 85 color plates with complete catalogue entries and an essay by Katz scholar David Cohen, critic for the New York Sun, publisher and editor of artcritical.com and curator at the New York Studio School.
A scholarly catalogue accompanies the exhibition Lois Dodd: Catching the Light includes essays by Alison Ferris, Barbara O'Brien, and John Yau, and 51 color plates and 26 illustrations.
This catalogue is the first publication to survey Wachtel's career, and features 40 color plates of works from the 1980s through today, as well as an insightful overview by curator Reto Thuring, an essay by poet and critic Quinn Latimer, and a conversation between Wachtel and curator Johanna Burton.
Including full - color plates of over sixty works spanning York's career, a new essay by poet and art critic Bruce Hainley, plus earlier essays by Fairfield Porter and Calvin Tomkins, an extensive chronology, a complete bibliography, and a detailed catalogue of works, this publication is a testament to, as Hainley puts it, York's «pursuit of lyric intensity while negotiating a point - blank confrontation with history — all in stealth relation to the leopard - alive instant at the end of the brush.»
The catalogue also includes color plates of additional works that will be shown during the installation of Haunted at the Guggenheim Museum Bilbao.
An 86 - page catalogue with 31 color plates and an essay by Linda Nochlin will be published to accompany the exhibition.
The exhibition is accompanied by a scholarly catalogue, published by The Phillips Collection and Zentrum Paul Klee in association with Prestel, featuring color plates and essays by the curatorial team and outside scholars Katy Siegel, Eugene V. and Clare E. Thaw Endowed Chair in Modern American Art, Stony Brook University, and Elke Seibert, Postdoctoral Research Fellow at the German Center for the History of Art (DFK) in Paris.