Sentences with phrase «such exhibition catalogues»
He has also written monographs on Polly Apfelbaum, Richard Artschwager, Jeremy Blake, Vija Celmins, Toba Khedoori, Monique Prieto, and Wolfgang Tillmans, among others, and contributed to such exhibition catalogues as Helter Skelter and Public Offerings (both Museum of Contemporary Art, Los Angeles, 1992 and 2001 respectively).
https://mcachicago.org/ Not exact matches
Critical texts are placed alongside sketches by artists such as Richard Deacon or hand - drawn layouts for catalogues by Sol LeWitt, as well as installation instructions from Carl Andre or exhibition notes by Dan Graham.
Besides her exhibition catalogues, Smith's writings have appeared in such publications as Revolution in the Making: Abstract Sculpture by Women 1947 - 2016; Helen Frankenthaler: Composing with Color, 1962 - 1963; The Drawings of Do Ho Suh; The Architecture of Bertrand Goldberg; Chicago Makes Modern; Buckminster Fuller: Starting with the Universe; Design Cities; Birth of the Cool; and the 54th Carnegie International.
The National Endowment for the Arts (NEA) granted $ 10,000 to Artists Space for the exhibition, but when the catalogue appeared with an essay by David Wojnarowicz that excoriated politicians and the clergy for their inaction in the face of the crisis — or for their outright attacks on people with AIDS — the NEA came under fire from ultraconservative politicians such as Senator Jesse Helms.
Besides her exhibition catalogues, Smith's writings have appeared in such publications as
In the catalogue introduction to the exhibition Fry argued that the post-impressionist creates, not a pale response to actual appearance, but a new reality.18 He argued that the logical extreme of such a method would be the complete renunciation of natural form and the creation of a purely abstract language, a visual music.
A «catalogue raisonné» is a systematic and comprehensive scholarly reference text in which each work known to have been executed by a particular artist is illustrated, thoroughly documented and described, giving information such as title, alternative titles, date, medium, size, inscriptions, provenance, exhibition history, and publication history, and in which each work is assigned a permanent reference number.
Her writings have appeared in the exhibition catalogues such as Kasia Klimpel.
As Minturn explains in his essay accompanying the exhibition catalogue, «When composing the book [on Ossorio], Dubuffet had many of the works he was writing about right in front of him, some of which had been executed just hours before... Dubuffet makes it clear that his study is not art history written from afar (in time or space), rather, it is art writing «on the spot,» and as such, much closer to journalistic reportage.
When we research artwork or other objects and we find information about you in sources such as newspaper articles, exhibition catalogues, public auction results, or one of our contacts gives us feedback in relation to objects or persons they have been told about.
Her writing has appeared in exhibition catalogues and art journals such as
How do the videos improve upon traditional tools implemented by galleries such as press releases and exhibition catalogues?
Her writing has appeared in exhibition catalogues and art journals such as ArtNexus, Caribbean Intransit: The Arts Journal, Gulf Coast: A Journal of Literature and Fine Arts, Interventions: International Journal of Postcolonial Studies.
She has had 40 + solo and group exhibitions in galleries throughout the U.S. Cavanaugh's art has been featured in publications such as The New York Times Magazine, New American Paintings no. 88, American Art Collector (cover artist), American Artist Watercolor, Watercolor Artist magazine, Southwest Art magazine, International Artist magazine, Art Calendar magazine (cover artist), and The Daniel Smith Art Supply Catalogue.
Burns and Lundh's writing has appeared in periodicals such as Art - Agenda, Art Papers, Fillip, Journal for Curatorial Studies, Kaleidoscope, Mousse, Reviews in Cultural Theory, as well as exhibition catalogues and books.
The exhibition and accompanying scholarly catalogue will be divided into nine sections that focus on various events in the art colony, such as Forum 49 and the founding of the Fine Arts Work Center.
Catalogues chronicling exhibitions such as Coming Into Fashion: A Century of Photography at Conde Nast, and Imaging Eden: Photographers Discover the Everglades, as well as several others, are also available.
Her research and curatorial practice, which span large - scale museum exhibitions with extensive catalogues as well as scholarly books and articles, have been instrumental in introducing the work of now seminal black artists (such as Martin Puryear, David Hammons, and Lorna Simpson) to wide audiences and bringing to light long - forgotten or overlooked black artists.
She personally curated a number of groundbreaking exhibitions and wrote catalogue essays for world - renowned artists such as Betye Saar, Sam Gilliam, and Melvin Edwards.»
More recently, a plethora of photographic exhibition catalogues has emerged from museums and artist - run centres like Montréal's Dazibao, which exhibits only photography, and articles on photography have become a regular feature of art magazines such as Parachute and Canadian Art.
Catalogues chronicling exhibitions such as Coming Into Fashion: A Century of Photography at Conde Nast, andImaging Eden: Photographers Discover the Everglades, as well as several others, are also available.
As a renowned author and critic, he has been a contributing editor at Art in America since 1981 and regularly contributes to exhibition catalogues and art publications such as ArtForum, Frieze, Parkett, Corriere della Sera (Milan), and Art Press.
To reflect the museum - quality nature of this collection, the «Eyes Wide Open» exhibition and auction are accompanied by a scholarly catalogue, which features texts by curators and critics such as Carolyn Christov - Bakargiev, Hans - Ulrich Obrist and Sarah Whitfield, as well as essays by the collectors.
«The greatest challenge has been raising the budget and building such a big exhibition within a very short installation period... Five pavilions, two chapels and one cupola are being built in just 18 days to house the works, and a catalogue with installation pictures will be available a few days after the opening».
Dean is the first to admit that these genres are not something she particularly identifies with; writing in the exhibition catalogue, she expresses the frustrations of working with such discrete categories: «It goes well until you come across an anomaly, and the anomaly makes you create a new description and a new category, and it goes well again until the next anomaly and the next category, and so on and so forth.»
Formerly Director of the Graduate Program at the center for Curatorial Studies at Bard College and Associate Director of the Whitney Independent Study Program, Burton has curated a number of exhibitions as well as contributing catalogue essays for artists such as Cindy Sherman, Marilyn Minter and Anish Kapoor.
Our primary interest is to place works by the artist in all media as well as documentary materials such as catalogues, posters and films in institutions with a reputation for their scholarly approach to exhibitions and publications that have already shown an interest in and provide regular public access to the artist's work.
Her scholarship has been included in publications such as Anywhere But Here: Black Intellectuals in the Atlantic World and Beyond (2015, University Press of Mississippi), ART LIES: A Contemporary Art Quarterly, the journal African Arts, and exhibition catalogues for The Contemporary Austin, the Studio Museum of Harlem, and the Centre for Contemporary Art, Lagos.
Raphaela has curated many exhibitions and authored catalogues on such artists and subjects as: Atul Dodiya, Hema Upadhyay: Modernization, and Diane Landry: By every wind that Blows (2013); Andy Warhol: Image Machine (2012); Dasha Shishkin: I surrender, dear (2012); Matthew Monahan (2012); Where Do We Go From Here?
He is the author of many essays on modern and contemporary art for exhibition catalogues, and articles for publications such as Artforum, The Burlington Magazine, Frieze, Kaleidoscope, Mousse, October, and Tate Etc..
Their two exhibition spaces — along with such offsite projects as a recent popup gallery at 721 Congress and an annual catalogue complete with artist interviews on DVD — have kept the Co-Lab team extremely busy over the past few years.
The 512 - page anthology brings together reviews, interviews, and essays from sources that are largely out of print, as well as archival material such as invitation cards, installation views and book covers, as well as excerpts from significant exhibition catalogues.
In addition to his many exhibition catalogues, Rinder's writings have been included in books such as Theresa Hak Kyung Cha, (University of California Press, 2001), and Beyond Conceptualism: The Sixties Experiment (ICI, New York, 2000).
Charles Merewether writes in his introduction to the exhibition's catalogue: «Digital media art, in the hands of such artists as teamLab, succeed as an art of participatory installation and part of our everyday contemporary lives.»
Her thoroughly informed and deeply sympathetic understanding of the nature of art and design has brought her commissions for monographs on artists and architects as far - ranging as Mike Kelley and Ludwig Miens van der Rohe, as well as books and exhibition catalogues for institutions such as Whitney Museum of American Art, Museum of Contemporary Art in Los Angeles, The Getty Museum, UCLA's Hammer Museum, and the Canadian Centre for Architecture, Montréal.
According to the life documentary notes of the exhibition catalogue, Chung connects with such artists as Ha Chong - Hyun, Kwon Young - Woo, and Lee Ufan — practitioners interested in erasing the disparity between painting and sculpture.
The catalogue published on the occasion of the first institutional exhibition by Ana Navas at Galerie der Stadt Sindelfingen continues her artistic research, which deals with phenomena such as memory, translation, interpretation and authorship and documents a wide exchange of images and ideas.
Both the exhibition and catalogue will highlight previously unpublished archival material — such as sketchbooks and documents — culled from the vast Frank Moore Papers, totaling 44 linear feet, housed at NYU's Fales Library.
As Robert Slifkin notes in his essay written for the exhibition catalogue: «while Roszak certainly identified himself first and foremost as a sculptor, coming of age as an artist when such medium - specific monikers were fundamental to aesthetic practices, he consistently produced finished drawings... that can not be considered ancillary to any specific sculpture... A relentlessly productive artist, Roszak invested all of his creative practice with equal vigor and intensity.
Revel in even more special event access, such as day trips to Bay Area art collections, a selected Curators» Circle event, a complimentary exhibition catalogue each year, and more.
The show's exhibition catalogue expounds upon this premise and includes images, essays, and interviews covering the wide range of subjects that make the South such a complicated region.
Sarah was the visual arts editor art of Time Out, the ICA's Director of Exhibitions, has served on Turner Prize and other juries, and has written catalogues for the Hayward, ICA, Saatchi Gallery, White Cube and Haunch of Venison and books such as Shark - Infested Waters: The Saatchi Collection of British Art in the 90s.
The exhibition's scholarly intent and scope will be further reinforced by the exhibition catalogue as well as by a number of educational activities such as lectures and other events related to the topic.
Including such established art world figures as Lorna Simpson, Hank Willis Thomas (who also contributes an artist essay in the exhibition's catalogue), Kerry James Marshall, and Glenn Ligon, the exhibition primarily features work within the past decade, and reflects a contemporary point of view rather than a historical one.
The keen retrospective eye of the curators has thrown up a rewarding mix of the mainstream and the obscure, and it is worth the ticket price solely for the video of German opera singer Klaus Nomi performing Lightning Strikes in an over shoulder - padded, shiny tuxedo.Highlights include the subversive designs of the Italian collectives Studio Alchymia and Memphis; graphics by Peter Saville and Neville Brody; the original presentation drawing for Philip Johnson's AT&T building (1978); paintings by Robert Rauschenberg and Andy Warhol; Jeff Koons» stainless steel bust of Louis XIV (1986); performance costumes, including David Byrne's big suit from the documentary Stop Making Sense (1984); excerpts from films such as Derek Jarman's The Last of England (1987); and music videos featuring Laurie Anderson, Grace Jones and New Order.Catalogue offerSave # 8 on the exhibition catalogue with your National Art Pass.
He organized Canada's art exhibition for Expo 93 Korea, and is author of numerous books and catalogues for exhibitions held at many prestigious museums, such as the Tate Gallery, Russia's Hermitage Museum, the National Gallery of Canada, the Phoenix Art Museum and the Montreal Museum of Fine Arts, among others.
Designed as a turn - around book with two front covers, one for each of the venues of this two - part exhibition, this catalogue includes a number of contributions by Rauch's long - time colleagues, including fellow artists Michaël Borremans, Hartwig Ebersbach, Jonathan Meese, and Luc Tuymans; art critics and historians, such as Rudij Bergmann and Werner Hofmann; and museum directors, such as Markus Brüderlin, Robert Fleck, and Klaus Werner.
Oh, there are catalogues, Samadi says, such as the one for the landmark 1965 exhibition «Washington Color Painters» at the Washington Gallery of Modern Art (which put Davis on the map, along with Morris Louis, Kenneth Noland, Howard Mehring, Tom Downing, Donald McCarten and Paul Reed), but no definitive, overarching text on the genre.
Other works, such as HBO's hit drama The Wire, discussed by Glenn Ligon in the exhibition catalogue from the perspective of its distillation of the «blues imagination,» demonstrate the reach of the blues beyond music.
He regularly publishes in books, exhibition catalogues and magazines, and has written on artists such as Kai Althoff, Dirk Braeckman, or Mathias Poledna.