Sentences with phrase «road to publication with»
Media mega-corporations are a phenomenon of the last few decades) Self - publishing is a good path to a writing career, but it's not the best road to publication with the Big Five, unless you're the one - in - a-million breakout superstar like Hugh Howey.
http://annerallen.com/ Not exact matches
Sector Insight publication is the first in a series exploring autonomous transport systems with works on road, rail and maritime perspectives to follow.
IEL teamed up with each cohort to produce multiple publications, such as Hitting the Open Road After High School: How to Choose Your Own Adventure to Success!
She proceeded through production to publication and then followed up with me personally with the following email, one that simultaneously communicates joy and the fact that publishing is not always a completely smooth journey — and that's okay as long as the road is paved with mutual respect and professionalism.
Until recently, the road to publication was plagued with rejection and delays, and the majority of writers never achieved authorship.
It is important for those of us that are successful in the self published world to work with others who are traveling down the long and lonely road of publication regardless of their final decision.
The road to publication is paved with hard work.
The yellow brick road to becoming a wizard of ebook production starts with this chapter and proceeds through the next several chapters, creating progressively more interesting, more marketable ebooks and other EPUB - based publications.
It was only after I consulted with various developmental editors (usually published authors that do editing on the side) that I finally understood why my manuscripts were falling short with agents, and eventually found my road to publication.
But having done this before, I wanted to do more; after Harper was finished, I stayed on the road, pretty much non-stop, for the first 2-1/2 years after publication, much of it at my own expense and with me doing all the organizing.
Very few published authors started on their road to their first publication with a SUCCESSFUL cold query of an agent.
While I agree with the assessment (particularly that most writing is unpublishable) I think the reason people continue to believe that the road to publication is paved with luck and favoritism — despite constant assertions to the contrary by publishers, agents, and published writers — is that assertions are all they get.
The road to publication can be a long and twisted one with many struggles along the way.
The road to publication, just like the road to hell, is paved with good intentions.
Harper Seeks Injunction in Dispute with Open Road — HarperCollins has just upped the ante in their lawsuit against Open Road, filing for a permanent injunction to block the publication of the digital version of Julie of the Wolves, as well as monetary damages for «willful infringement» of HarperCollins» alleged... more >
As I write this, we're just four days away from publication — and I'm busy packing and spending extra time with my own dogs as I prepare to hit the road.
Raven is a contributing editor to BOMB magazine, and her writing has appeared in publications such as Rachel Harrison: Museum With Walls (Center for Curatorial Studies, Bard College / Whitechapel Gallery / Portikus, 2010); Deborah Stratman: Tactical Uses of a Belief in the Unseen, (Gahlberg Gallery, 2010); and Inge Morath: The Road to Reno (Steidl, 2006).
In 2013, the Harry Ransom Center acquired a Ruscha archive comprising five personal journals filled with preliminary sketches and notes; materials related to the making of his artist's book On The Road (2010); notes, photographs, correspondence and contact sheets relating to the creation and publication of his many other artist's books; and materials relating to his short films Miracle (1975) and Premium (1971); his portfolios; and several art commissions.
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
And I realized I had to do something 1983 Rammelzee vs K Rob «Beat Bop» 1984 First shows at Clarissa Dalrymple and Nicole Klagsbrun's Cable Gallery (artists of Wool's generation who begin showing same period include Philip Taaffe Jeff Koons Mike Kelley Cady Noland and James Nares 1984 produces first book photocopied edition of four: 93 Drawings of Beer on the Wall 1984 Warhol Rorschach paintings 1986 First pattern paintings 1987 Joins Luhring Augustine Gallery 1987 First word paintings 1988 Collaborative installation with Robert Gober one painting by Wool (Apocalypse Now) one sculpture by Gober (Three Urinals) one collaborative photograph (Untitled) and a mirror Gary Indiana contributes a short piece of fiction to the accompanying publication 1988 In Cologne sees show of Albert Oehlen's work meets Martin Kippenberger 1988 First European shows Cologne and Athens 1988 Collaborates with Richard Prince on two paintings: My Name and My Act 1989 Museum Group shows in Amsterdam Frankfurt am Main and Munich Whitney Biennial 1989 One year fellowship at the American Academy in Rome 1989 Starts taking photographs 1989 Publishes Black Book an oversized collection of 9 - letter images 1989 Fall of the Berlin Wall 1990 Meets Larry Clark 1991 First survey mounted at Boymans - Van Beuningen Museum Rotterdam publishes accompanying artist's book Cats in Bag Bags in River color photocopies of photographs of black and white paintings 1991 Creates edition of small paintings for ACT - UP New York Needle Exchange 1991 Participates in Carnegie International includes painting and billboard with truncated text announcing «THE SHOW IS OVER» 1991 Meets Jim Lewis 1991 Relocates studio to East 9th Street in New York 1992 LA riots 1992 DAAD residency in Berlin 1993 Publishes Absent Without Leave 160 black - and - white images from travel photographs taken over previous 4 years 1993 Begins silkscreened flower paintings 1993 Meets Michel Majerus 1994 Makes road - signs for Martin Kippenberger's Museum of Modern Art Syros 1994 New York Knicks lose to Houston Rockets in Game 7 NBA Finals 1995 Organizes retrospective of the New Cinema late 70's New York underground Super-8 films 1995 First spray - paintings 1995 Kids 1996 East Village studio severely damaged in building fire leaving Wool without a working space for 8 months artist's insurance photos become portfolio Incident on 9th Street 1997 Marries painter Charline von Heyl 1998 Museum of Contemporary Art Los Angeles mounts mid-career retrospective travels to Carnegie Museum of Art Pittsburgh and Kunsthalle Basel 1998 Begins silkscreen re-imaging of own work 2001 Solo exhibition at Secession Vienna 2002 «Grey» paintings 2003 East Broadway Breakdown photos of New York City 2005 First digital drawings 2006 Contributes art to Sonic Youth Rather Ripped 2007 Collaborates with Josh Smith on Can Your Monkey Do the Dog 2008 Collaborates with Richard Hell on Psychopts 2008 Christopher Wool lives and works in New York and Marfa Texas
She is a contributing editor to BOMB magazine, and her writing has appeared in publications such as Rachel Harrison: Museum With Walls (Center for Curatorial Studies, Bard College / Whitechapel Gallery / Portikus, 2010); Deborah Stratman: Tactical Uses of a Belief in the Unseen, (Gahlberg Gallery, 2010); and Inge Morath: The Road to Reno (Steidl, 2006).
Though the Canadian market has been asking Carswell for years to publish the French and English editions as two separate, less expensive publications, Carswell has refused, claiming on the one hand that a bilingual and bijuridical legal culture requires both languages in one volume (the high road) or that bilingual production is possible only with the higher price to subsidize the additional expense of producing it in two languages (the low road).