A painting by William McKeown, acquired by Ulster Museum with Art Fund support,
stars in a new exhibition exploring nature in the work of artists from Ireland and abroad.
Some of the world's most exciting contemporary artists
star in a new exhibition at the Walker Art Gallery from 2 February 2013.
Not exact matches
Durant should receive a much warmer welcome when Team USA and China get together again
in Tuesday's
exhibition rematch, as the pro-Warriors crowd will surely be excited to see its
new star attraction.
«With strong demand and an increasing affinity for international brand hotels
in Fuzhou, and as the first international five
star hotel on
Exhibition Island, we are very confident that the Sheraton Fuzhou's premier facilities and warm services will offer guests an unparalleled hospitality experience
in this dynamic
new business center.»
You won't want to miss this special presentation as we'll be unveiling our
newest All -
Stars (along with a few other surprises)
in a live
exhibition by the SuperBot team!
Tonight during an
Exhibition Presentation, we are excited to announce two
new challengers
in PlayStation All -
Stars Battle Royale — Heihachi Mishima and Toro Inoue!
Cronin's works has also been featured
in numerous group
exhibitions, including Global Positioning Systems, Perez Art Museum Miami, FL (2014 - 15); 1993: Experimental, Jet Set, Trash and No
Star,
New Museum,
New York, NY (2013); Come Together: Surviving Sandy, Industry City, Brooklyn, NY (2013); Watch Your Step, The FLAG Art Foundation,
New York, NY (2012); Because We Are, Station Museum of Contemporary Art, Houston, TX (2010); and Sh (out): Contemporary Art and Human Rights, Gallery of Modern Art, Glasgow, Scotland (2009).
2015 The Freedom Principle: Experiments
in Art and Music, 1965 to Now, Institute of Contemporary Art, University of Pennsylvania, Philadelphia, PA SAIC 150th Anniversary Show, Sullivan Galleries, School of the Art Institute of Chicago, IL Piece by Piece, Kemper Museum of Contemporary Art, Kansas City, MO Wild Noise: Artwork from The Bronx Museum of the Arts and El Museo Nacional de La Habana, The Bronx Museum, Bronx, NY Bring
in the Reality, Nathan Cummings Foundation,
New York, NY Pilgrimage Dun Huang — First International City Sculpture
Exhibition, Architectural Society of China, Dun Huang, China POP
Stars!
The first
exhibition in our
new rooms was dedicated to Street Art
Star Mr. Brainwash.
In the wake of last year's group
exhibitions The 5th of July and It Can Howl, which featured work by
New York - and Los Angeles - based artists such as Martine Syms, Nancy Lupo and Katherine Bernhardt — as well as the more regionally inclusive revival of the Atlanta Biennial, co-curated by Fuller, ART PAPERS editor Victoria Camblin, Jacksonville - based independent curator Aaron Levi Garvey and Joan Mitchell Center director Gia Hamilton of
New Orleans — there has been some local hand - wringing about whether Atlanta Contemporary's
exhibition schedule prioritizes Georgia artists or the rising
stars of the
New York scene.
Las Vegas Weekly, The Barrick's «Plural» Teams Local and International Artists for an Engaging Show, April 26, 2018 East Hampton
Star, 23 Successes
in «A Radical Voice», Jennifer Landes, March 20, 2018 Elle Décor, «Hitting Her Groove», Kate Betts, September 2014 Hamptons ArtHub, Best
Exhibitions of 2013», December 2013 Hamptons ArtHub, «Almond Zigmund: Interruptions Repeated», Gabrielle Selz, September 2013 WhiteHot Magazine, «Almond Zigmund: Interruptions Repeated», Janet Goleas, September 2013 Huffington Post, «Almond Zigmund: Interruptions Repeated», Gabrielle Selz, August 2013 Elle Décor, «Arbiter of Style», Cynthia Frank, May 2013 NY H&G, «Mondo Condo» May 2013 Long Island Pulse, «Artist VIP», Nada, August 2011 Southampton Press, «Shifting Perceptions
in Parrish Installation», Pat Rogers, November 8, 2007 East Hampton
Star, «An Artist «Remembers the Future»», Jennifer Landes, November 1, 2007 East Hampton
Star, «Industrial Strength Beauty, Jessica Frost, July 19, 2007 Las Vegas Sun, «Coloring Her World», Kristen Peterson, February 24, 2006 Southampton Press, «Tracing the Genealogy of Ideas», Eric Ernst, December 15, 2005 Columbus Dispatch,» Texture Enlivens Minimalist Exhibit», Kaizaad Kotwal Sunday, July 17, 2005 Southampton Press,» Avram Gallery Offers Quiet Space for Show», Eric Ernst, Nov. 25, 2004 Los Angeles Times, «Sweet Nostalgia Projected Onto Metal», Holly Meyers, Feb 1, 2002 Flash Art, «Aperto», David Pagel, March - April 2002 Art
in America, «Report From Sante Fe — Sin City Sampler», Sarah S. King, July 2002 Kunst; «Verdachtig ist, wer sich nicht bewegt», Jurg M. Meier, 2002 Samatag, «Orte des Durchgangs sichtbar gemacht», Susanne Neubauer, Jan 26, 2002 The Art Newspaper, «Las Vegans», Sarah Douglass, No 121, January 2002, p. 9 The Southampton Press, «Artists
in Spotlight at Parrish», October 25, 2001, Miami Herald, «Altoids Artworks Small, But Strong», Elias Turner, Sept 10, 2001 Florida Today, «Altoids offers an exhibit of curiously fresh art», Pam Harbaugh, 2001 Exhibit: a, «The Big American Issue», June 2001, p. 28 illustration Las Vegas Weekly, August 5, 1999 «Artists Bios», p. 20, illustration Las Vegas Weekly, February 3, 1999 «Great Art BiDesign», p22
New York Contemporary Art Report, Jan / Feb 2000, p. 52, illustration
Select group
exhibitions featuring his work include Objects Like Us, The Aldrich Contemporary Art Museum, Ridgefield, CT (forthcoming, 2018 - 2019); UPTOWN: nastywomen / badhombres, El Museo del Barrio,
New York (2017); Black: Color, Material, Concept, The Studio Museum
in Harlem,
New York (2015); The Great Mother, the Fondazione Nicola Trussardi, Palazzo Reale, Milan (2015); The Freedom Principle: Experiments
in Art and Music, 1965 to Now, the Museum of Contemporary Art Chicago (2015); NYC 1993: Experimental Jet Set, Trash and No
Star,
New Museum,
New York (2013); Contemplating the Void: Interventions
in the Guggenheim Rotunda, Solomon R. Guggenheim Museum,
New York (2010); the Whitney Biennial,
New York (2006); and Landings, Documenta XI, Kassel, Germany (2003).
Works by Jane Fine and James Esber will be included
in the upcoming
exhibition «Broad Stripes and Bright
Stars» at the Ely Center of Contemporary Art
in New Haven, CT..
In addition to this work, the
exhibition will include photographs, made by the artist as he accompanied the clock on a ship from London to
New York, as well as a group of large - scale drawings of the night sky, based on the
star charts which sailors use to navigate.
Notable
exhibitions include: Sanford Biggers: Dark
Star (July 2013, East Hampton); Miriam Schapiro: The California Years, 1967 — 1975 (February — March 2016,
New York City); Henry Chalfant: 1980 (November 2016 — January 2017,
New York City); and Montauk Highway: Postwar Abstraction
in the Hamptons (August — September 2017, East Hampton).
Work by the artist has been prominently featured
in group
exhibitions worldwide, most recently
in 2013 as part of NYC 1993: Experimental Jet Set, Trash and No
Star at the
New Museum,
New York.
1995 Pasted Paper: Collage
in the 20th Century, Louis Stern Fine Arts, Los Angeles, CA 25 Years: An Exhibition of Selected Works, Margo Leavin Gallery, Los Angeles, CA Between Reality and Abstraction: California Art at the End of the Century, Art Museum of South Texas, Corpus Christi, TX 1994 Balls, World Cup USA 1994, Newspace, Los Angeles, CA Twentieth — Century Drawings, Los Angeles County Museum of Art, Los Angeles, CA In Plain Sight: Abstract Painting in Los Angeles, Blue Star Art Space, San Antonio, TX Paintings of the 80's, RosamundFelsen Gallery, Los Angeles, CA Fractured Identity: Cut and Paste, Julie Saul Gallery, New York pen & ink, Santa Barbara Contemporary Arts Forum, Santa Barbara, CA Fawbush Gallery, New York Very Visual Dialogue, Personal Journeys in Abstract Painting, Rancho Santiago College Gallery, Santa Ana,
in the 20th Century, Louis Stern Fine Arts, Los Angeles, CA 25 Years: An
Exhibition of Selected Works, Margo Leavin Gallery, Los Angeles, CA Between Reality and Abstraction: California Art at the End of the Century, Art Museum of South Texas, Corpus Christi, TX 1994 Balls, World Cup USA 1994, Newspace, Los Angeles, CA Twentieth — Century Drawings, Los Angeles County Museum of Art, Los Angeles, CA
In Plain Sight: Abstract Painting in Los Angeles, Blue Star Art Space, San Antonio, TX Paintings of the 80's, RosamundFelsen Gallery, Los Angeles, CA Fractured Identity: Cut and Paste, Julie Saul Gallery, New York pen & ink, Santa Barbara Contemporary Arts Forum, Santa Barbara, CA Fawbush Gallery, New York Very Visual Dialogue, Personal Journeys in Abstract Painting, Rancho Santiago College Gallery, Santa Ana,
In Plain Sight: Abstract Painting
in Los Angeles, Blue Star Art Space, San Antonio, TX Paintings of the 80's, RosamundFelsen Gallery, Los Angeles, CA Fractured Identity: Cut and Paste, Julie Saul Gallery, New York pen & ink, Santa Barbara Contemporary Arts Forum, Santa Barbara, CA Fawbush Gallery, New York Very Visual Dialogue, Personal Journeys in Abstract Painting, Rancho Santiago College Gallery, Santa Ana,
in Los Angeles, Blue
Star Art Space, San Antonio, TX Paintings of the 80's, RosamundFelsen Gallery, Los Angeles, CA Fractured Identity: Cut and Paste, Julie Saul Gallery,
New York pen & ink, Santa Barbara Contemporary Arts Forum, Santa Barbara, CA Fawbush Gallery,
New York Very Visual Dialogue, Personal Journeys
in Abstract Painting, Rancho Santiago College Gallery, Santa Ana,
in Abstract Painting, Rancho Santiago College Gallery, Santa Ana, CA
Various Private Collections -
New York, NY; Detroit, MI: Memphis, TN; Nashville, TN; St.Petersburg, FL; Washington, DC; Oxford, MS; Seattle, WA, Los Angeles, CA; Little Rock, AR; Boston, MA; Raleigh, NC SELECTED BIBLIOGRAPHY Artscope, «Centerfold», Volume 4, Numer 2, May / June 2009 ArtSEEN, «Drawing Conclusions», Volume 5, Spring 2007 NY ARTS, «Artist's Voice», Volume 12, Issue 5/6, May / June 2007 The Washington Post, «Portraiture's Harsh Lessons» by Blake Gopnik, June 25, 2006 The Atlanta Journal - Constitution, «Colorful Melange Blends Well», by Jerry Cullum March 12, 2006 The Commercial Appeal, «A Splash of Great Painting» by Frederic Koeppel, January 21, 2005 The
Star - Ledger, «Connecting Art and the Everyday» by Dan Bischoff, Sunday, August 1, 2004 Art Papers,
Exhibition Review «Homegrown» by Linda Johnson Dougherty, Volume 26, Issue 1; Jan. / Feb. 2002 The Spectator, «The Spaces Between: Brian Bishop's «The Longest Year»» by Glenn Perkins, December 26, 2001
New York Times, «Among a Show of Drawings, Looking for Ones with Bite» by William Zimmer, May 14, 2000 The Memphis Flyer,»... Offering up an earful and eyeful» by Cory Dugan, March, 1998
New American Paintings, Open Studio Competition, 1998 CURRENT EMPLOYMENT Professor of Art and Chair, Department of Art + Music, Framingham State University, Framingham, MA click here to download a comprehensive cv
in pdf format.
Recent
exhibitions include Harlem: Found Ways, Cooper Gallery at Hutchins Center, Harvard University, Cambridge, MA (2017); Urban Planning: Contemporary Art and the City 1967 - 2017, Contemporary Art Museum St. Louis, MO (2017); Only When It's Dark Enough Can You See The
Stars, The Contemporary, Baltimore (2016); Puddle, pothole, portal, SculptureCenter, Queens (2014); Outside the Lines, Contemporary Arts Museum Houston (2014); Fore (2012), The Studio Museum
in Harlem,
New York, NY (2012); Future Generation Art Prize, the Pinchuk Art Centre, Kiev, Ukraine (2012); and The Ungovernables,
New Museum,
New York, NY (2012), among others.
Her recent inclusion
in the traveling
exhibition «The Freedom Principle: Experiments
in Art and Music, 1965 to Now,» has changed that, and
in her
New York solo debut at Bridget Donahue, «Sound Talisman,» Ms. Alvarado is a painting
star.
In the exhibition, James joined with Barry McGee and Stephen Powers, who both went on to become international stars, to recreate a New York alleyway, covered in graffiti, on a massive scal
In the
exhibition, James joined with Barry McGee and Stephen Powers, who both went on to become international
stars, to recreate a
New York alleyway, covered
in graffiti, on a massive scal
in graffiti, on a massive scale.
in Art News, vol.81, no. 1, January 1982 (review of John Moores Liverpool
Exhibition), The Observer, 12 December 1982; «English Expressionism» (review of exhibition at Warwick Arts Trust) in The Observer, 13 May 1984; «Landscapes of the mind» in The Observer, 24 April 1995 Finch, Liz, «Painting is the head, hand and the heart», John Hoyland talks to Liz Finch, Ritz Newspaper Supplement: Inside Art, June 1984 Findlater, Richard, «A Briton's Contemporary Clusters Show a Touch of American Influence» in Detroit Free Press, 27 October 1974 Forge, Andrew, «Andrew Forge Looks at Paintings of Hoyland» in The Listener, July 1971 Fraser, Alison, «Solid areas of hot colour» in The Australian, 19 February 1980 Freke, David, «Massaging the Medium» in Arts Alive Merseyside, December 1982 Fuller, Peter, «Hoyland at the Serpentine» in Art Monthly, no. 31 Garras, Stephen, «Sketches for a Finished Work» in The Independent, 22 October 1986 Gosling, Nigel, «Visions off Bond Street» in The Observer, 17 May 1970 Graham - Dixon, Andrew, «Canvassing the abstract voters» in The Independent, 7 February 1987; «John Hoyland» in The Independent, 12 February 1987 Griffiths, John, «John Hoyland: Paintings 1967 - 1979» in The Tablet, 20 October 1979 Hall, Charles, «The Mastery of Living Colour» in The Times, 4 October 1995 Harrison, Charles, «Two by Two they Went into the Ark» in Art Monthly, November 1977 Hatton, Brian, «The John Moores at the Walker Art Gallery, Liverpool» in Artscribe, no. 38, December 1982 Heywood, Irene, «John Hoyland» in Montreal Gazette, 7 February 1970 Hilton, Tim, «Hoyland's tale of Hofmann» in The Guardian, 5 March 1988 Hoyland, John, «Painting 1979: A Crisis of Function» in London Magazine, April / May 1979; «Framing Words» in Evening Standard, 7 December 1989; «The Famous Grouse» in Arts Review, October 1995 Januszcak, Waldemar, «Felt through the Eye» in The Guardian, 16 October 1979; «Last Chance» in The Guardian, 18 May 1983; «Painter nets # 25,000 art prize» in The Guardian, 11 February 1987; «The Circles of Celebration» in The Guardian, 19 February 1987 Kennedy, R.C., «London Letter» in Art International, Lugano, 20 October 1971 Kent, Sarah, «The Modernist Despot Refuses to Die» in Time Out, 19 - 25, October 1979 Key, Philip, «This Way Up and It's Art; Key Previews the John Moores Exhibition» in Post, 25 November 1982 Kramer, Hilton, «Art: Vitality in the Pictorial Structure» in New York Times, 10 October 1970 Lehmann, Harry, «Hoyland Abstractions Boldly Pleasing As Ever» in Montreal Star, 30 March 1978 Lucie - Smith, Edward, «John Hoyland» in Sunday Times, 7 May 1970; «Waiting for the click...» in Evening Standard, 3 October 1979 Lynton, Norbert, «Hoyland», in The Guardian, [month] 1967 MacKenzie, Andrew, «A Colourful Champion of the Abstract» in Morning Telegraph, Sheffield, 9 October 1979 Mackenzie, Andrew, «Let's recognise city artist» in Morning Telegraph, Sheffield, 18 September 1978 Makin, Jeffrey, «Colour... it's the European Flair» in The Sun, 30 April 1980 Maloon, Terence, «Nothing succeeds like excess» in Time Out, September 1978 Marle, Judy, «Histories Unfolding» in The Guardian, May 1971 Martin, Barry, «John Hoyland and John Edwards» in Studio International, May / June 1975 McCullach, Alan, «Seeing it in Context» in The Herald, 22 May 1980 McEwen, John, «Hoyland and Law» in The Spectator, 15 November 1975; «Momentum» in The Spectator, 23 October 1976; «John Hoyland in mid-career» in Arts Canada, April 1977; «Abstraction» in The Spectator, 23 September 1978; «4 British Artists» in Artforum, March 1979; «Undercurrents» in The Spectator, 24 October 1981; «Flying Colours» in The Spectator, 4 December 1982; «John Hoyland, new paintings» in The Spectator, 21 May 1983; «The golden age of junk art: John McEwen on Christmas Exhibitions» in Sunday Times, 18 December 1984; «Britain's Best and Brightest» in Art in America, July 1987; «Landscapes of the Mind» in The Independent Magazine, 16 June 1990; «The Master Manipulator of Paint» in Sunday Telegraph, 1 October 1995; «Cool dude struts with his holster full of colours» in The Sunday Telegraph, 10 October 1999 McGrath, Sandra, «Hangovers and Gunfighters» in The Australian, 19 February 1980 McManus, Irene, «John Moores Competition» in The Guardian, 8 December 1982 Morris, Ann, «The Experts&raqu
Exhibition), The Observer, 12 December 1982; «English Expressionism» (review of
exhibition at Warwick Arts Trust) in The Observer, 13 May 1984; «Landscapes of the mind» in The Observer, 24 April 1995 Finch, Liz, «Painting is the head, hand and the heart», John Hoyland talks to Liz Finch, Ritz Newspaper Supplement: Inside Art, June 1984 Findlater, Richard, «A Briton's Contemporary Clusters Show a Touch of American Influence» in Detroit Free Press, 27 October 1974 Forge, Andrew, «Andrew Forge Looks at Paintings of Hoyland» in The Listener, July 1971 Fraser, Alison, «Solid areas of hot colour» in The Australian, 19 February 1980 Freke, David, «Massaging the Medium» in Arts Alive Merseyside, December 1982 Fuller, Peter, «Hoyland at the Serpentine» in Art Monthly, no. 31 Garras, Stephen, «Sketches for a Finished Work» in The Independent, 22 October 1986 Gosling, Nigel, «Visions off Bond Street» in The Observer, 17 May 1970 Graham - Dixon, Andrew, «Canvassing the abstract voters» in The Independent, 7 February 1987; «John Hoyland» in The Independent, 12 February 1987 Griffiths, John, «John Hoyland: Paintings 1967 - 1979» in The Tablet, 20 October 1979 Hall, Charles, «The Mastery of Living Colour» in The Times, 4 October 1995 Harrison, Charles, «Two by Two they Went into the Ark» in Art Monthly, November 1977 Hatton, Brian, «The John Moores at the Walker Art Gallery, Liverpool» in Artscribe, no. 38, December 1982 Heywood, Irene, «John Hoyland» in Montreal Gazette, 7 February 1970 Hilton, Tim, «Hoyland's tale of Hofmann» in The Guardian, 5 March 1988 Hoyland, John, «Painting 1979: A Crisis of Function» in London Magazine, April / May 1979; «Framing Words» in Evening Standard, 7 December 1989; «The Famous Grouse» in Arts Review, October 1995 Januszcak, Waldemar, «Felt through the Eye» in The Guardian, 16 October 1979; «Last Chance» in The Guardian, 18 May 1983; «Painter nets # 25,000 art prize» in The Guardian, 11 February 1987; «The Circles of Celebration» in The Guardian, 19 February 1987 Kennedy, R.C., «London Letter» in Art International, Lugano, 20 October 1971 Kent, Sarah, «The Modernist Despot Refuses to Die» in Time Out, 19 - 25, October 1979 Key, Philip, «This Way Up and It's Art; Key Previews the John Moores Exhibition» in Post, 25 November 1982 Kramer, Hilton, «Art: Vitality in the Pictorial Structure» in New York Times, 10 October 1970 Lehmann, Harry, «Hoyland Abstractions Boldly Pleasing As Ever» in Montreal Star, 30 March 1978 Lucie - Smith, Edward, «John Hoyland» in Sunday Times, 7 May 1970; «Waiting for the click...» in Evening Standard, 3 October 1979 Lynton, Norbert, «Hoyland», in The Guardian, [month] 1967 MacKenzie, Andrew, «A Colourful Champion of the Abstract» in Morning Telegraph, Sheffield, 9 October 1979 Mackenzie, Andrew, «Let's recognise city artist» in Morning Telegraph, Sheffield, 18 September 1978 Makin, Jeffrey, «Colour... it's the European Flair» in The Sun, 30 April 1980 Maloon, Terence, «Nothing succeeds like excess» in Time Out, September 1978 Marle, Judy, «Histories Unfolding» in The Guardian, May 1971 Martin, Barry, «John Hoyland and John Edwards» in Studio International, May / June 1975 McCullach, Alan, «Seeing it in Context» in The Herald, 22 May 1980 McEwen, John, «Hoyland and Law» in The Spectator, 15 November 1975; «Momentum» in The Spectator, 23 October 1976; «John Hoyland in mid-career» in Arts Canada, April 1977; «Abstraction» in The Spectator, 23 September 1978; «4 British Artists» in Artforum, March 1979; «Undercurrents» in The Spectator, 24 October 1981; «Flying Colours» in The Spectator, 4 December 1982; «John Hoyland, new paintings» in The Spectator, 21 May 1983; «The golden age of junk art: John McEwen on Christmas Exhibitions» in Sunday Times, 18 December 1984; «Britain's Best and Brightest» in Art in America, July 1987; «Landscapes of the Mind» in The Independent Magazine, 16 June 1990; «The Master Manipulator of Paint» in Sunday Telegraph, 1 October 1995; «Cool dude struts with his holster full of colours» in The Sunday Telegraph, 10 October 1999 McGrath, Sandra, «Hangovers and Gunfighters» in The Australian, 19 February 1980 McManus, Irene, «John Moores Competition» in The Guardian, 8 December 1982 Morris, Ann, «The Experts&raqu
exhibition at Warwick Arts Trust)
in The Observer, 13 May 1984; «Landscapes of the mind»
in The Observer, 24 April 1995 Finch, Liz, «Painting is the head, hand and the heart», John Hoyland talks to Liz Finch, Ritz Newspaper Supplement: Inside Art, June 1984 Findlater, Richard, «A Briton's Contemporary Clusters Show a Touch of American Influence»
in Detroit Free Press, 27 October 1974 Forge, Andrew, «Andrew Forge Looks at Paintings of Hoyland»
in The Listener, July 1971 Fraser, Alison, «Solid areas of hot colour»
in The Australian, 19 February 1980 Freke, David, «Massaging the Medium»
in Arts Alive Merseyside, December 1982 Fuller, Peter, «Hoyland at the Serpentine»
in Art Monthly, no. 31 Garras, Stephen, «Sketches for a Finished Work»
in The Independent, 22 October 1986 Gosling, Nigel, «Visions off Bond Street»
in The Observer, 17 May 1970 Graham - Dixon, Andrew, «Canvassing the abstract voters»
in The Independent, 7 February 1987; «John Hoyland»
in The Independent, 12 February 1987 Griffiths, John, «John Hoyland: Paintings 1967 - 1979»
in The Tablet, 20 October 1979 Hall, Charles, «The Mastery of Living Colour»
in The Times, 4 October 1995 Harrison, Charles, «Two by Two they Went into the Ark»
in Art Monthly, November 1977 Hatton, Brian, «The John Moores at the Walker Art Gallery, Liverpool»
in Artscribe, no. 38, December 1982 Heywood, Irene, «John Hoyland»
in Montreal Gazette, 7 February 1970 Hilton, Tim, «Hoyland's tale of Hofmann»
in The Guardian, 5 March 1988 Hoyland, John, «Painting 1979: A Crisis of Function»
in London Magazine, April / May 1979; «Framing Words»
in Evening Standard, 7 December 1989; «The Famous Grouse»
in Arts Review, October 1995 Januszcak, Waldemar, «Felt through the Eye»
in The Guardian, 16 October 1979; «Last Chance»
in The Guardian, 18 May 1983; «Painter nets # 25,000 art prize»
in The Guardian, 11 February 1987; «The Circles of Celebration»
in The Guardian, 19 February 1987 Kennedy, R.C., «London Letter»
in Art International, Lugano, 20 October 1971 Kent, Sarah, «The Modernist Despot Refuses to Die»
in Time Out, 19 - 25, October 1979 Key, Philip, «This Way Up and It's Art; Key Previews the John Moores
Exhibition» in Post, 25 November 1982 Kramer, Hilton, «Art: Vitality in the Pictorial Structure» in New York Times, 10 October 1970 Lehmann, Harry, «Hoyland Abstractions Boldly Pleasing As Ever» in Montreal Star, 30 March 1978 Lucie - Smith, Edward, «John Hoyland» in Sunday Times, 7 May 1970; «Waiting for the click...» in Evening Standard, 3 October 1979 Lynton, Norbert, «Hoyland», in The Guardian, [month] 1967 MacKenzie, Andrew, «A Colourful Champion of the Abstract» in Morning Telegraph, Sheffield, 9 October 1979 Mackenzie, Andrew, «Let's recognise city artist» in Morning Telegraph, Sheffield, 18 September 1978 Makin, Jeffrey, «Colour... it's the European Flair» in The Sun, 30 April 1980 Maloon, Terence, «Nothing succeeds like excess» in Time Out, September 1978 Marle, Judy, «Histories Unfolding» in The Guardian, May 1971 Martin, Barry, «John Hoyland and John Edwards» in Studio International, May / June 1975 McCullach, Alan, «Seeing it in Context» in The Herald, 22 May 1980 McEwen, John, «Hoyland and Law» in The Spectator, 15 November 1975; «Momentum» in The Spectator, 23 October 1976; «John Hoyland in mid-career» in Arts Canada, April 1977; «Abstraction» in The Spectator, 23 September 1978; «4 British Artists» in Artforum, March 1979; «Undercurrents» in The Spectator, 24 October 1981; «Flying Colours» in The Spectator, 4 December 1982; «John Hoyland, new paintings» in The Spectator, 21 May 1983; «The golden age of junk art: John McEwen on Christmas Exhibitions» in Sunday Times, 18 December 1984; «Britain's Best and Brightest» in Art in America, July 1987; «Landscapes of the Mind» in The Independent Magazine, 16 June 1990; «The Master Manipulator of Paint» in Sunday Telegraph, 1 October 1995; «Cool dude struts with his holster full of colours» in The Sunday Telegraph, 10 October 1999 McGrath, Sandra, «Hangovers and Gunfighters» in The Australian, 19 February 1980 McManus, Irene, «John Moores Competition» in The Guardian, 8 December 1982 Morris, Ann, «The Experts&raqu
Exhibition»
in Post, 25 November 1982 Kramer, Hilton, «Art: Vitality
in the Pictorial Structure»
in New York Times, 10 October 1970 Lehmann, Harry, «Hoyland Abstractions Boldly Pleasing As Ever» in Montreal Star, 30 March 1978 Lucie - Smith, Edward, «John Hoyland» in Sunday Times, 7 May 1970; «Waiting for the click...» in Evening Standard, 3 October 1979 Lynton, Norbert, «Hoyland», in The Guardian, [month] 1967 MacKenzie, Andrew, «A Colourful Champion of the Abstract» in Morning Telegraph, Sheffield, 9 October 1979 Mackenzie, Andrew, «Let's recognise city artist» in Morning Telegraph, Sheffield, 18 September 1978 Makin, Jeffrey, «Colour... it's the European Flair» in The Sun, 30 April 1980 Maloon, Terence, «Nothing succeeds like excess» in Time Out, September 1978 Marle, Judy, «Histories Unfolding» in The Guardian, May 1971 Martin, Barry, «John Hoyland and John Edwards» in Studio International, May / June 1975 McCullach, Alan, «Seeing it in Context» in The Herald, 22 May 1980 McEwen, John, «Hoyland and Law» in The Spectator, 15 November 1975; «Momentum» in The Spectator, 23 October 1976; «John Hoyland in mid-career» in Arts Canada, April 1977; «Abstraction» in The Spectator, 23 September 1978; «4 British Artists» in Artforum, March 1979; «Undercurrents» in The Spectator, 24 October 1981; «Flying Colours» in The Spectator, 4 December 1982; «John Hoyland, new paintings» in The Spectator, 21 May 1983; «The golden age of junk art: John McEwen on Christmas Exhibitions» in Sunday Times, 18 December 1984; «Britain's Best and Brightest» in Art in America, July 1987; «Landscapes of the Mind» in The Independent Magazine, 16 June 1990; «The Master Manipulator of Paint» in Sunday Telegraph, 1 October 1995; «Cool dude struts with his holster full of colours» in The Sunday Telegraph, 10 October 1999 McGrath, Sandra, «Hangovers and Gunfighters» in The Australian, 19 February 1980 McManus, Irene, «John Moores Competition» in The Guardian, 8 December 1982 Morris, Ann, «The Experts» Expe
New York Times, 10 October 1970 Lehmann, Harry, «Hoyland Abstractions Boldly Pleasing As Ever»
in Montreal
Star, 30 March 1978 Lucie - Smith, Edward, «John Hoyland»
in Sunday Times, 7 May 1970; «Waiting for the click...»
in Evening Standard, 3 October 1979 Lynton, Norbert, «Hoyland»,
in The Guardian, [month] 1967 MacKenzie, Andrew, «A Colourful Champion of the Abstract»
in Morning Telegraph, Sheffield, 9 October 1979 Mackenzie, Andrew, «Let's recognise city artist»
in Morning Telegraph, Sheffield, 18 September 1978 Makin, Jeffrey, «Colour... it's the European Flair»
in The Sun, 30 April 1980 Maloon, Terence, «Nothing succeeds like excess»
in Time Out, September 1978 Marle, Judy, «Histories Unfolding»
in The Guardian, May 1971 Martin, Barry, «John Hoyland and John Edwards»
in Studio International, May / June 1975 McCullach, Alan, «Seeing it
in Context»
in The Herald, 22 May 1980 McEwen, John, «Hoyland and Law»
in The Spectator, 15 November 1975; «Momentum»
in The Spectator, 23 October 1976; «John Hoyland
in mid-career»
in Arts Canada, April 1977; «Abstraction»
in The Spectator, 23 September 1978; «4 British Artists»
in Artforum, March 1979; «Undercurrents»
in The Spectator, 24 October 1981; «Flying Colours»
in The Spectator, 4 December 1982; «John Hoyland,
new paintings» in The Spectator, 21 May 1983; «The golden age of junk art: John McEwen on Christmas Exhibitions» in Sunday Times, 18 December 1984; «Britain's Best and Brightest» in Art in America, July 1987; «Landscapes of the Mind» in The Independent Magazine, 16 June 1990; «The Master Manipulator of Paint» in Sunday Telegraph, 1 October 1995; «Cool dude struts with his holster full of colours» in The Sunday Telegraph, 10 October 1999 McGrath, Sandra, «Hangovers and Gunfighters» in The Australian, 19 February 1980 McManus, Irene, «John Moores Competition» in The Guardian, 8 December 1982 Morris, Ann, «The Experts» Expe
new paintings»
in The Spectator, 21 May 1983; «The golden age of junk art: John McEwen on Christmas
Exhibitions»
in Sunday Times, 18 December 1984; «Britain's Best and Brightest»
in Art
in America, July 1987; «Landscapes of the Mind»
in The Independent Magazine, 16 June 1990; «The Master Manipulator of Paint»
in Sunday Telegraph, 1 October 1995; «Cool dude struts with his holster full of colours»
in The Sunday Telegraph, 10 October 1999 McGrath, Sandra, «Hangovers and Gunfighters»
in The Australian, 19 February 1980 McManus, Irene, «John Moores Competition»
in The Guardian, 8 December 1982 Morris, Ann, «The Experts» Expert.
Wendy Red
Star will have a solo
exhibition at the Cue Foundation
in New York
in June 2017.
Her works have been included
in exhibitions at Moscow Museum of Modern Art, Blue
Star Contemporary Art Museum, The Drawing Center and Gaîté Lyrique, among others; she had solo shows
in New York and Houston.
Hancock's work has also been included
in a number of significant group
exhibitions, including Juxtapoz x Superflat, curated by Takashi Murakami and Evan Pricco, Pivot Art + Culture, Seattle, WA (2016 - 17), Statements: African American Art from the Museum's Collection, Museum of Fine Art, Houston, TX (2016), When the
Stars Begin to Fall: Imagination and the American South, The Studio Museum
in Harlem,
New York, NY (2014), Radical Presence: Black Performance
in Contemporary Art, Contemporary Arts Museum Houston, Houston, TX (2012), The Best of Times, The Worst of Times: Rebirth and Apocalypse
in Contemporary Art, Kiev International Biennale of Contemporary Art, Armory, Kiev, Ukraine (2012), Wunderkammer: A Century of Curiosities, Museum of Modern Art,
New York, NY (2008), Darger - ism: Contemporary Artists and Henry Darger, American Folk Art Museum,
New York, NY (2008), Political Nature, Whitney Museum of American Art,
New York, NY (2005), Whitney Biennial, Whitney Museum of American Art,
New York, NY (2002), Whitney Biennial, Whitney Museum of American Art,
New York, NY (2000).
McClelland has twice participated
in the Whitney Biennial,
in 1993 and 2014, and was included
in The
New Museum's
exhibition NYC 1993: Experimental Jet Set, Trash and No
Star.
Furthermore, Smith has been included
in several important national and international group
exhibitions at venues including the Contemporary Arts Museum, Houston, TX (2007, 1995); Camp Marfa, Marfa, TX (2007); Casa de Carton, Ingalls & Associates, Miami, FL (2007); Menil Collection Museum, Houston, TX (2006); African American Museum, Dallas, Texas (2015, 2006); Blue
Star Contemporary Art Center, San Antonio, TX (2006); Rockland County Center for the Arts, West Nyack, NY (2000); Art Car Museum, Houston, TX (1999); Galveston Art Center, Galveston, TX (1999); Museum of Fine Arts, Houston, TX (1996); Studio Museum
in Harlem, Sculpture Garden,
New York, NY (1995); Project Row Houses, Houston, TX (1995); Kenkeleba Gallery,
New York, NY (1992); Dallas Museum of Art, Dallas, TX (1992); High Museum, Atlanta (1992); Milwaukee Art Museum, Milwaukee, WI (1992); Blaffer Gallery, University of Houston, TX (1992); Deanza College, Euphrat Gallery, Cupertino, CA (1992); United States Information Agency, Washington, DC (1989); Huntington Art Gallery, University of Texas, Austin, TX (1989); Longview Museum of Art, Longview, TX (1989); Bronx Museum, NY (1989); Dallas Museum of Art, Dallas, TX (1989); The Museum of African American Art, Los Angeles, CA (1988); Studio Museum
in Harlem,
New York, NY (1988); Arnot Museum of Art, Elmira, NY (1973);
New York Cultural Center,
New York, NY (1973); Newark Museum, Newark, NJ (1973); Rutgers University, NJ (1971); Hudson River Museum, Yonkers, NY (1970) and the Whitney Museum of American Art,
New York, NY (1970).
Red
Star's The Maniacs
exhibition is curated by Michelle J. Lanteri, a
New Mexico State University (NMSU) alumna, who earned a Master of Arts
in Art History, Native American Studies minor, and Museum Studies certificate from the institution.
As the 14 - year - old Neue Galerie has shown, the Vienna of that era was a vital, internationally - minded, interdisciplinary art center that continues to fuel
new books and
exhibitions — including one timed to the release of Woman
in Gold,
starring Helen Mirren and based on the story of the museum's trophy painting, Klimt's heavily gilded Portrait of Adele Bloch - Bauer.
New exhibitions include: Made
in California: Selections from the Frederick R. Weisman Art Foundation, covering two floors of gallery space, presents a
star - studded selection of contemporary West Coast art from the 1950s to the present.
Honors: Guggenheim Fellowship Two National Endowment for the Arts grants, among other commendations Public collections Solomon R. Guggenheim Museum,
New York,
New York Los Angeles County Museum of Art, California The Museum of Modern Art,
New York,
New York National Gallery of Victoria, Melbourne, Australia San Francisco Museum of Modern Art, California Walker Art Center, Minneapolis, Minnesota Whitney Museum of American Art,
New York,
New York Retrospective: traveled to Irish Museum of Modern Art, Dublin The Van Abbemuseum, Eindhoven, The Netherlands Le Consortium, Dijon, France Museum of Art, Rhode Island School of Design, Providence
New Museum,
New York,
New York The Museum of Contemporary Art, Los Angeles Roberta Smith wrote
in The
New York Times on Feb. 17, 2011 of Benglis» retrospective, «Whether you have been watching Ms. Benglis» varied career for decades or know her primarily from the latex pieces and her
star turn
in Artforum, this
exhibition pulls together and elaborates her remarkable career
in a thrilling way.
Pace Gallery Hong Kong is proud to present «
stars», Yoshitomo Nara's second
exhibition at Pace following his 2013 show
in New York.
We also thank the vendors of Essex Street Market for their participation
in and support for this
exhibition: Pain D'Avignon, Davidovich Bakery, Rainbo's Fish, Tra La La Juice Bar, Luis Meat Market,
New Star Fish Market, Boubouki, Ni Japanese Delicacies, Nordic Preserves, Fish & Wildlife, Peasant Stock, Viva Fruits & Vegetables, Luna Brothers Fruit, Essex Farm Fruits and Vegetables, Roni - Sue's Chocolates, Saxelby Cheesemongers, Fromaggio Essex, Shopsin's General Store, Porto Rico Importing Company, Santa Lucia Religious, Aminova's Barber Shop, La Tiendita, Osaka Grub.
Ward has taken part
in important group
exhibitions, including The Great Mother, The Fondazione Nicola Trussardi, Palazzo Reale, Milan (2015); NYC 1993: Experimental Jet Set, Trash and No
Star,
New Museum,
New York (2013); Nanjing Biennial, Nanjing, China (2011); Contemplating the Void: Interventions
in the Guggenheim Rotunda, Solomon R. Guggenheim Museum,
New York (2010); Prospect 1,
New Orleans, LA (2008); the Whitney Biennial,
New York (2006); and Landings, Documenta XI, Kassel, Germany (2003).
This year presents more artists
in more parts of the state than ever before, with Blue
Star Contemporary Art Museum
in San Antonio housing the main survey
exhibition, Ballroom Marfa co-commissioning an artist project from The Dallas Collective, Lawndale Art Center
in Houston showcasing recent work by four Texas Biennial «
stars» with the Texas Biennial Invitational, and Big Medium
in Austin featuring past biennial entries and recent work by selected Texas Biennial artists
in New and Greatest Hits: Texas Biennial 2005 - 2011.
Her works have been included
in group
exhibitions at the Moscow Museum of Modern Art, Blue
Star Contemporary Art Museum (San Antonio), The Drawing Center (
New York) and Gaîté Lyrique, (Paris) among others.
Taking a broader view is paying off:
In 2015 Shainman organized the show «El Anatsui: Five Decades» at his 20,000 - square - foot exhibition space in upstate New York, and «on the opening Saturday in the middle of the summer, two hours north of the city, we got five or six hundred people to come see the show — he's a rock star.&raqu
In 2015 Shainman organized the show «El Anatsui: Five Decades» at his 20,000 - square - foot
exhibition space
in upstate New York, and «on the opening Saturday in the middle of the summer, two hours north of the city, we got five or six hundred people to come see the show — he's a rock star.&raqu
in upstate
New York, and «on the opening Saturday
in the middle of the summer, two hours north of the city, we got five or six hundred people to come see the show — he's a rock star.&raqu
in the middle of the summer, two hours north of the city, we got five or six hundred people to come see the show — he's a rock
star.»
He has
starred in numerous solo
exhibitions at prestigious galleries and museums — including Friedrich Petzel Gallery
in New York, Serpentine Gallery
in London, Casey Kaplan
in New York and the Whitney at Altria
in New York — as well as many group shows internationally.
2012Dallas Paul, A Rogue's Gallery of Gorgeousness: Charles Atlas and Anthony's Turning, FilmMaker Magazine, 16th November 2012 Atlas, Charles «Filming Cunningham Dance:
In Conversation with Nancy F. Becker, 1983» Dance, Documents of Contemporary Art, Andre Lepecki, 2012 Verlaek, Jolien, «I got a book and learned video» Interview Charles Atlas, Metropolism Online, 16 April 2012 Goings on about town: Dance, The New Yorker Online, The New Yorker Online, 14 April, 2012 Boynton, Andrew, Ballet's Punk, Grown Up, The New Yorker Online, 12 April, 2012 Millar, Iain, A 21st - century take on art films, The Art Newspaper Online, 11 April, 2012 Sutton, Benjamin, Charles Atlas Crunches the Numbers at Luhring Augustine's New Brooklyn Outpost, Art Info Online, 9 April, 2012 Macaulay, Alastair, Films That Allow the Elusive to Elude, Charles Atlas Captures Merce Cunninghams «Ocean» on Film, The New York Times, Critics Notebook, 9 April, 2012 Kourlas, Gia, A Rock Star May Steal the Show, The New York Times, 6 April, 2012 Hawthorne, Julien, Payne, Jenny, The Whitney Biennial Experience, Columbia Spectator, 30 March, 2012 Huff Jason, Charles Atlas» Delirious Digital Projections Dazzle in Bushwick, Blouin Artinfo Online, 26 March, 2012 Charles Atlas: Views on Video, Petrine Archer BLOG, 26 March, 2012 First Charles Atlas museum exhibition in The Netherlands Includes large Video Installations, www.artdaily.org, 19 March, 2012 De hallen Haarlem opens Charles Atla
In Conversation with Nancy F. Becker, 1983» Dance, Documents of Contemporary Art, Andre Lepecki, 2012 Verlaek, Jolien, «I got a book and learned video» Interview Charles Atlas, Metropolism Online, 16 April 2012 Goings on about town: Dance, The
New Yorker Online, The
New Yorker Online, 14 April, 2012 Boynton, Andrew, Ballet's Punk, Grown Up, The
New Yorker Online, 12 April, 2012 Millar, Iain, A 21st - century take on art films, The Art Newspaper Online, 11 April, 2012 Sutton, Benjamin, Charles Atlas Crunches the Numbers at Luhring Augustine's
New Brooklyn Outpost, Art Info Online, 9 April, 2012 Macaulay, Alastair, Films That Allow the Elusive to Elude, Charles Atlas Captures Merce Cunninghams «Ocean» on Film, The
New York Times, Critics Notebook, 9 April, 2012 Kourlas, Gia, A Rock
Star May Steal the Show, The
New York Times, 6 April, 2012 Hawthorne, Julien, Payne, Jenny, The Whitney Biennial Experience, Columbia Spectator, 30 March, 2012 Huff Jason, Charles Atlas» Delirious Digital Projections Dazzle
in Bushwick, Blouin Artinfo Online, 26 March, 2012 Charles Atlas: Views on Video, Petrine Archer BLOG, 26 March, 2012 First Charles Atlas museum exhibition in The Netherlands Includes large Video Installations, www.artdaily.org, 19 March, 2012 De hallen Haarlem opens Charles Atla
in Bushwick, Blouin Artinfo Online, 26 March, 2012 Charles Atlas: Views on Video, Petrine Archer BLOG, 26 March, 2012 First Charles Atlas museum
exhibition in The Netherlands Includes large Video Installations, www.artdaily.org, 19 March, 2012 De hallen Haarlem opens Charles Atla
in The Netherlands Includes large Video Installations, www.artdaily.org, 19 March, 2012 De hallen Haarlem opens Charles Atlas.
2009 Abstract Cabinet Show, Eastside projects, Birmingham, UK Paper Moon, Sommer & Kohl, Berlin, Germany Summer
in the City, Martin Asbaek Gallery, Copenhagen, Denmark The Golden Record - The Sounds of Earth, The Collection, Lincoln, England; touring to g39, Cardiff, UK Nus, Fortes Vilaça, São Paulo, Brazil Collection Art Foundation Mallorca, CCA Kunsthalle Andratx, Mallorca, Spain 2008 Chambres a part II, la Réserve Paris, Paris, France 100 Years 100 Artists 100 Works of Art, A Foundation Gallery, London, England Golden Record - the Sounds of the Earth, Collective Gallery, Edinburgh, Scotland Supernatural, Kunsthalle Andratx, Majorca, Spain Pendre la crémaillère, Sommer & Kohl, Berlin, Germany Space to Draw, Jerwood Space, London, England Art on the London Underground, Rochelle School, London, England 2007
Star Dust, Musée d'Art Contemporain du Val - de-Marne (MAC / VAL), Paris, France Cult Fiction, Hayward Gallery, London; toured to
New Art Gallery, Walsall; Nottingham Castle, Nottingham; Leeds City Art Gallery, Leeds; Aberystwyth Art Gallery, Aberystwyth; Tullie House, Carlisle, UK (catalogue) Drawing 2007 Biennial Fundraiser, The Drawing Room, London, England 2006 Drawing Inspiration, Abbot Hall Art Gallery, Cumbria, UK The Starry Messenger: Visions of the Universe, Compton Verney, Warwickshire, England (catalogue) 2005 Sonnenblume Titanic, Kjubh Kunstverein, Cologne, Germany Ticker, carlier gebauer, Berlin, Germany; curated by Aurélie Voltz The Failure, Korridor, Berlin, Germany Ten Year Anniversary
Exhibition, Stephen Friedman Gallery, London, England Post Notes, ICA, London; toured to Midway Contemporary Art, Minneapolis, USA Communism, Project, Dublin, Ireland; curated by Grant Watson
For Um - basax - bilua «Where They Make The Noise,» Red
Star's first solo
exhibition in New York, the artist eschews much of the satire of her earlier work, showing a large - scale installation drawn from a mix of autobiographical and archived material.
Check out the
new installations by our friend Ryan Brennan, who was also
star of my George Hearts Maria
exhibition in Germany last year!
This
exhibition marks Red
Star's first solo show
in New York City.
Powerhouse London gallery Victoria Miro took interest
in her work, and one of the former Studio Museum curators, Jamillah James, brought a solo show of Ms. Crosby's work to the Hammer Museum
in Los Angeles (
in her
new role there as assistant curator) while also helping to organize a concurrent
exhibition at international art
star Mark Bradford's
new L.A.
exhibition space Art + Practice.
, Light Museum, Eindhoven, The Netherlands Gadgetry and Rites, Yuz Museum, Jakarta, Indonesia 2009 Entrance — Li Hui Solo
Exhibition, Beijing Art Now Gallery, Beijing, China Dialects of Void & Substance, Tang Contemporary Art Center, Hong Kong, China Between Dimensions, Kuandu Museum of Fine Arts, Taipei, Taiwan 2008 Shiny Li Hui, A Art Contemporary Space, Taipei, Taiwan Samsara, Bund18 Creative Center, Shanghai, China 2007 Spin, Tang Contemporary Art Center, Beijing, China GROUP
EXHIBITIONS 2015 Myth / History II: Shanghai Galaxy, Yuz Museum, Shanghai, China Future, Now, SomoS, Berlin, Germany 2014 Outside the Lines,
New Work From China, RH Contemporary Art,
New York, NY Sharks & Humanity, Musee Oceanographique de Monaco, Monaco, Monaco Re-View — Opening
Exhibition of Long Museum West Bund, Long Museum West Bund, Shanghai, China the 8 Paths, Ufferhallen Berlin, Berlin, Germany MYTH / HISTORY - YUZ COLLECTION OF CONTEMPORARY ART, YUZ Museum, Shanghai, China Welcome to Parkview Green - Parkview Contemporary Art Collection, Parkview Green
Exhibition Hall, Beijing, China Sensorium 360, Singapore Art Museum, Singapore, Singapore By Destiny, Arario Museum Tapdong Cinema, Jeju, Korea 2013 @WHAT: Selected Works of Contemporary Chinese Art, Arko Art Center, Seoul, South Korea Artificial Natures, Maubeuge Espace Sculfort, Maubeuge, France Artificial Natures, Maison des Arts de Creteil, Paris, France Artificial Natures, Lille St Sauveur, Lille, France Uneasy Trip
in Asia,
Star Gallery, Beijing, China 2012 CHIMERA - THE COLLECTORS SHOW, Singapore Art Museum, Singapore Licht Linien Light Lines (un) wirklich (un) real, Centre for International Light Art, Unna, Germany Water Stains on the Wall - The Carrier of Formation, Zhejiang Art Museum, Hangzhou, China I Light Marina Bay 2012, Marina Bay, Singapore Lust and Love of the Young and Liberated, 798 Space, Beijing, China Modern @ Modeng - Gallery Hotel Art Project, Gallery Hotel, Beijing, China Future Pass, Today Art Museum, Beijing, China Future Pass, National Taiwan Museum of Fine Arts, Taichung, Taiwan Open Sky, Changjiang Art Centre, Chongqing, China 2011 Dual Senses and Dynamic Views - Contemporary Art
Exhibition across the Taiwan Straits of 2011, National Art Museum of China, Beijing, China Dual Senses and Dynamic Views - Contemporary Art
Exhibition across the Taiwan Straits of 2011, National Taiwan Museum of Fine Arts, Taichung, Taiwan Matière - Lumière Matter - Light, Béthune 2011 Capitale Régionale de la Culture, Béthune, France CAR CULTURE.
Using the colorful pop - like paintings featured
in Basim Magdy: The
Stars Were Aligned for a Century of
New Beginnings as a backdrop, Magdy and Manilow Senior Curator Omar Kholeif discuss the artist's background and artistic process as well as specific works within his
exhibition.
He co-curated Enemy of the
Stars with Krist Gruijthuijsen at KW Berlin 2017 and has recently participated
in group
exhibitions at the Hammer Museum 2018, MIT List Centre 2017, and Eli Broad Museum 2017, and will have forthcoming
exhibitions at Casey Kaplan
in New York, and at the Neubauer Collegium
in Chicago with Dieter Roelstraete.
Park Avenue Armory Unveils 2013 Program — There's a decent chance that the Park Avenue Armory will repeat the smashing success of Ann Hamilton's recent installation at the uptown
exhibition space, as just a quick glance at their planned events
in the
new year reveals some major gems, including the U.S. premiere of The Life and Death of Marina Abramovic,
starring the artist alongside Willem Dafoe.
As with FWMOA's «Invisible College»
exhibition, previewed earlier, the show packs
in countless styles and mediums from familiar rising
stars in New Contemporary.
Group shows include the Whitney Biennial,
New York, NY (2010); dOCUMENTA (13), Kassel, Germany (2012); The Spirit of Utopia, Whitechapel Gallery, London, England (2013); When
Stars Collide, The Studio Museum
in Harlem,
New York, NY (2014); Gone Are the Days of Shelter and Martyr, as part of All The World's Future's, the 56th International Art
Exhibition — Venice Biennale, Venice, Italy; and Three or Four Shades of Blue, as part of SALTWATER: A Theory of Thought Forms, 14th Istanbul Biennial, Istanbul, Turkey (both 2015).