Sentences with phrase «text by art historian»

The exhibition is accompanied by a catalogue that includes a foreword by Tate director, Nicholas Serota, written to coincide with Newport Street's opening, as well as a text by art historian and critic, Barry Schwabsky, a re-published essay by the late writer Gordon Burn, and a 2009 conversation between Hoyland and Damien Hirst.

We are including, along with paintings and drawings, the work of a sculptor, a poet, an etcher, text by an art historian and an essay by a former resident of one ofPalladio's finest villas and the last to have remained, until recently, in the ownership of the family that commissioned its construction.

We are including, along with paintings and drawings, the work of a sculptor, a poet, an etcher, text by an art historian and an essay by a former resident of one of

SOLD OUT Featuring a text by the art historian Gemma Blackshaw.

Co-published by David Zwirner and Regen Projects with Hatje Cantz, it includes a text by art historian Benjamin H. D. Buchloh.

Available in hardcover, this bilingual catalogue (English and German) includes texts by art historian and curator Werner Spies and Gary Tinterow, the Met's Engelhard Curator of Nineteenth - Century, Modern, and Contemporary Art.

Not exact matches

The joint exhibitions will be accompanied by a significant three - volume catalogue with texts by Margit Rowell, a former curator at The Museum of Modern Art, Centre Georges Pompidou, Centro de arte Reina Sofia and the Solomon R. Guggenheim Museum, on Miró's Constellations, and art historian and author Mildred Glimcher on Calder's ConstellatioArt, Centre Georges Pompidou, Centro de arte Reina Sofia and the Solomon R. Guggenheim Museum, on Miró's Constellations, and art historian and author Mildred Glimcher on Calder's Constellatioart historian and author Mildred Glimcher on Calder's Constellations.

Published on the occasion of her first exhibition at David Zwirner in fall of 2010, this beautifully designed and produced catalogue — with a text by noted curator and art historian Joachim Pissarro — features Suzan Frecon's most recent large - scale oil paintings, along with newly commissioned color photography of exhibition and studio installation views, as well as the artist's notebooks and sketches.

nine seventeen is accompanied by a catalogue which features texts by Dr. Peter Miller, whose shared enthusiasm for Meppayil's work brought the exhibition to the American Academy in Rome; historian and critic, Deepak Ananth, a specialist on Meppayil's work and its relationship to Indian art history; and Harvard professor and Art Historian Dr. Benjamin H.D. Buchloh, whose original essay stations Prabhavathi's work amongst thhistorian and critic, Deepak Ananth, a specialist on Meppayil's work and its relationship to Indian art history; and Harvard professor and Art Historian Dr. Benjamin H.D. Buchloh, whose original essay stations Prabhavathi's work amongst the greaart history; and Harvard professor and Art Historian Dr. Benjamin H.D. Buchloh, whose original essay stations Prabhavathi's work amongst the greaArt Historian Dr. Benjamin H.D. Buchloh, whose original essay stations Prabhavathi's work amongst thHistorian Dr. Benjamin H.D. Buchloh, whose original essay stations Prabhavathi's work amongst the greats.

A fully illustrated catalogue, published later in 2015, will include essays by the curators, a reprint of an autobiographical text by Knowles, and a new essay by art historian Lauren DiGiulio.

A range of texts about Riley's original and enduring practice grounds and contextualizes the images, including new scholarship by art historian Richard Shiff, texts on both the artist's wall paintings and newest body of work by Paul Moorhouse, Twentieth - Century Curator at the National Portrait Gallery in London, and a 1978 interview with Robert Kudielka, her longtime confidant and foremost critic.

Accompanying the exhibition, is a new publication, a supplemental book that presents scholarly texts by curator and art historian, Iris Müller - Westermann, Senior Curator of International Art at Moderna Museet, Stockholm and by New York based scholar, critic and curator, Alex Bacon; in addition it includes a visual essay that traces the specific historical inspirations and touchstones for this group of works, in hopes to speak to both the past and futuart historian, Iris Müller - Westermann, Senior Curator of International Art at Moderna Museet, Stockholm and by New York based scholar, critic and curator, Alex Bacon; in addition it includes a visual essay that traces the specific historical inspirations and touchstones for this group of works, in hopes to speak to both the past and futuArt at Moderna Museet, Stockholm and by New York based scholar, critic and curator, Alex Bacon; in addition it includes a visual essay that traces the specific historical inspirations and touchstones for this group of works, in hopes to speak to both the past and future.

Lisa Oppenheim: Spine Texts by Andria Hickey, MOCA Cleveland Senior Curator, Maika Pollack, art historian, and Laura Solomon, poet; interview by Karen Archey, art critic and curator with Lisa Oppenheim.

On the occasion of facade suspended, a conversation between Yvette Mutumba (co-curator Berlin Biennial 2018 and editor - in - chief of the art magazine C &) and Pothoven will be published, as well as a text by historian and journalist Roeland Muskens (author of: On the right side, a biography of the Dutch anti-apartheidsmovement 1960 - 1990).

A range of texts about Riley's original and enduring practice grounds and contextualizes the images, including new scholarship by art historian Richard Shiff, texts on both the artist's wall paintings and newest body of work by Paul Moorhouse, 20th Century Curator at the National Portrait Gallery in London, and a 1978 interview with Robert Kudielka, her longtime confidant and foremost critic.

A comprehensive selection of over 60 essays and exhibition reviews has been collated into one volume, including texts by some of the most influential art historians and critics.

Introduced by art historian Cara Jordan, editor of this extensive research - based publication, the book also includes an illustrated biography and an anthology of key texts written by the artist in the 1980s.

By the early 1980s Jonas had begun to create complex, nonlinear narratives premised on literary and historical texts, including science fiction (Double Lunar Dogs, 1984), medieval Icelandic sagas (Volcano Saga, 1989), and, more recently, the writings and biography of the art historian Aby Warburg (The Shape, the Scent, the Feel of Things, 2004).

The catalogue includes a text by Brandon as well as contributions by Nick Robins, author of The Corporation that Changed the World: How the East India Company Shaped the Modern Multinational (Pluto Press, 2012); art historian John Seyller, a specialist in miniature painting and author of Pahari Paintings in the Jagdish and Kamla Mittal Museum of Indian Art (Hyderabad, 2014); Ayad Akhtar, winner of the Pulitzer Prize for his play Disgraced (2012); Ashley Nga - sai Wu, assistant curator at Asia Society Hong Kong Center; and Hans Ulrich Obrist, Serpentine Galleries's co-director, as well as curator and author of Ways of Curating (Farber & Farber, 201art historian John Seyller, a specialist in miniature painting and author of Pahari Paintings in the Jagdish and Kamla Mittal Museum of Indian Art (Hyderabad, 2014); Ayad Akhtar, winner of the Pulitzer Prize for his play Disgraced (2012); Ashley Nga - sai Wu, assistant curator at Asia Society Hong Kong Center; and Hans Ulrich Obrist, Serpentine Galleries's co-director, as well as curator and author of Ways of Curating (Farber & Farber, 201Art (Hyderabad, 2014); Ayad Akhtar, winner of the Pulitzer Prize for his play Disgraced (2012); Ashley Nga - sai Wu, assistant curator at Asia Society Hong Kong Center; and Hans Ulrich Obrist, Serpentine Galleries's co-director, as well as curator and author of Ways of Curating (Farber & Farber, 2014).

Art historian Johanna Burton contributes a substantial essay that analyzes and elucidates all aspects of Minter's work; her text is complemented by a lengthy conversation between Minter and her friend, painter Mary Heilmann, as well as by «Twenty Questions,» a project assembled by Matthew Higgs to which a wide range of artists, curators, friends and others with a unique connection to Minter have contributed.

This fully illustrated publication features texts by curator Chus Martínez, head of the Institute of Art of the FHNW Academy of Arts and Design in Basel, Switzerland, art historian and critic Kaira Cabañas, and Gego's grandson, Daniel Crespin, as well as previously unpublished archival materiArt of the FHNW Academy of Arts and Design in Basel, Switzerland, art historian and critic Kaira Cabañas, and Gego's grandson, Daniel Crespin, as well as previously unpublished archival materiart historian and critic Kaira Cabañas, and Gego's grandson, Daniel Crespin, as well as previously unpublished archival material.

On the occasion of the exhibition, Blain Southern will publish a book that features a newly commissioned interview between art historian Ara H. Merjian and philosopher Jesse Prinz, alongside existing texts by Giorgio de Chirico, John Ashbery, Lydia Davis, Apollinaire and others.

It coincides with the Armory Show and the Whitney Museum of American Art Biennial and will be accompanied by a fully illustrated catalogue, complete with original texts by the writer and cultural critic Wayne Koestenbaum and the art historian and Dean of the Yale University School of Art Robert StoArt Biennial and will be accompanied by a fully illustrated catalogue, complete with original texts by the writer and cultural critic Wayne Koestenbaum and the art historian and Dean of the Yale University School of Art Robert Stoart historian and Dean of the Yale University School of Art Robert StoArt Robert Storr.

Judd's «Specific Objects» became an canonical text for the 1960s and was all the more seminal because it was written not by a critic or an art historian, but by an artist.

View sample pages 2017 / ISBN: 978 -0-945558-42-2 Hardcover / 8 x 10 inches 144 pages / 130 color reproductions Text by: exhibition curator Kendra Paitz; artists Xaviera Simmons, Cecilia Vicuña, Kay Rosen, and Marcelline Delbecq; and art historians Melissa Johnson, Deborah Willis and Cheryl Finley

A catalogue is forthcoming in 2017 featuring texts by exhibition curator Kendra Paitz, art historian Melissa Johnson, poet / artist Cecilia Vicuña, and artists Xaviera Simmons, Kay Rosen, Deborah Willis, and Marcelline Delbecq.

A fully - illustrated publication will accompany the exhibition, featuring a new text by critic and art historian Éric de Chassey (Director General of l'Institut National d'Histoire de l'Art, Paris).

Manchanda's engaging volume examines key works from the past fifty years and includes short texts by artists, curators, and art historians, including Josephine Meckseper, James Voorhies, Richard Meyer, and Hal Foster.

Designed by McCall Associates in close collaboration with the artist, Drawings 2015 — 2017 features new scholarship by art historian Neil Cox and exhibition curator Francesco Stocchi, a chronology of the drawings by curator Michelle White, as well as a historical text by Albert Camus selected by Serra.

Containing many previously unpublished paintings as well as works in public collections, this monograph — the most comprehensive and best - illustrated book on Motherwell currently in print — introduces a series of texts by critics and art historians John Yau, Robert Hobbs, Matthew Collings, Donald Kuspit, Robert Mattison, Mel Gooding and Saul Ostrow.

Throughout this eclectic monograph, the artist's own commentary is interwoven with text from additional contributors, including essays by fellow artist Jake Chapman, novelist Nick McDonell, art historian Abigail Solomon - Godeau, curator Dominic Molon, and the artist's father, the noted linguist - anthropologist Derek Bickerton.

A fully illustrated hardcover catalogue will accompany this exhibition and will include a critical essay by the distinguished art historian Tomás Llorens Serra, former Director of the Reina Sofia Museum in Madrid and the Thyssen - Bornemisza Museum in Madrid, in addition to a text by Abigail McEwen, Associate Professor and Director of Undergraduate Studies at the University of Maryland.

Curated by Daniela Ferrari, art historian and curator at the Museum of Modern and Contemporary Art of Trento and Rovereto (MART), Italy, the exhibition will explore the use of text and the written word in the practice of major Post-War Italian artists including, Vincenzo Agnetti (1926 - 1981), Alighiero Boetti (1940 - 1994), Dadamaino (1930 - 2004), Lucio Fontana (1899 - 1968), Emilio Isgrò (b. 1937), Piero Manzoni (1933 - 1963), Mimmo Rotella (1918 - 2006), Salvo (1947 - 2015) and Mario Schifano (1934 - 1998), alongside key international artists including Cy Twombly (1928 - 2011), Joseph Kosuth (b. 1945), Jannis Kounellis (1936 - 2017), Mel Bochner (b. 1940), John Baldessari (b. 1931) and Tracey Emin (b. 196art historian and curator at the Museum of Modern and Contemporary Art of Trento and Rovereto (MART), Italy, the exhibition will explore the use of text and the written word in the practice of major Post-War Italian artists including, Vincenzo Agnetti (1926 - 1981), Alighiero Boetti (1940 - 1994), Dadamaino (1930 - 2004), Lucio Fontana (1899 - 1968), Emilio Isgrò (b. 1937), Piero Manzoni (1933 - 1963), Mimmo Rotella (1918 - 2006), Salvo (1947 - 2015) and Mario Schifano (1934 - 1998), alongside key international artists including Cy Twombly (1928 - 2011), Joseph Kosuth (b. 1945), Jannis Kounellis (1936 - 2017), Mel Bochner (b. 1940), John Baldessari (b. 1931) and Tracey Emin (b. 196Art of Trento and Rovereto (MART), Italy, the exhibition will explore the use of text and the written word in the practice of major Post-War Italian artists including, Vincenzo Agnetti (1926 - 1981), Alighiero Boetti (1940 - 1994), Dadamaino (1930 - 2004), Lucio Fontana (1899 - 1968), Emilio Isgrò (b. 1937), Piero Manzoni (1933 - 1963), Mimmo Rotella (1918 - 2006), Salvo (1947 - 2015) and Mario Schifano (1934 - 1998), alongside key international artists including Cy Twombly (1928 - 2011), Joseph Kosuth (b. 1945), Jannis Kounellis (1936 - 2017), Mel Bochner (b. 1940), John Baldessari (b. 1931) and Tracey Emin (b. 1963).

Texts on Beaumont's work have been written about by a number of art historians and critics including Nancy Princenthal, Jeffrey Kastner, Brian Wallis, Gary Indiana, Martin Kemp, Patricia C. Philliips, Kay Larson, Michael Kimmelman, Amanda Boetzkes, Barbara Metilsky, Sara Selwood, Kim Levin, Amy Gamerman, Marilu Knode, Amber Vilas, Peter Scott and Robert Stefanotti.

Edited by Paula Feldman and Karsten Schubert, It Is What It Is includes texts by some of the most influential art historians and critics of today, such as Donald Judd, Dore Ashton, Rosalind Krauss, Lawrence Alloway, Germano Celant, Holland Cotter.

Filled with extraordinary color plates and personally selected archival images, this comprehensive book offers a rich overview of more than two decades of her brilliant and controversial paintings, along with interpretive essays by Bedford and leading art historians Suzanne Hudson and Catherine Lord, a text by Pulitzer Prize - winning writer and physician Siddhartha Mukherjee, and an interview with the artist by art historian and curator Katy Siegel.

The nearly 400 - page anthology unites an unprecedented community of art historians, curators, and artists, with essays by the show's two curators, as well as texts by contributors such as Connie Butler, chief curator at the Hammer Museum, Carmen María Jaramillo, Karen Cordero Reiman, Miguel Loópez, Mónica Mayer, and Carla Stellweg.

The catalogue includes conversations between the artist and art critic and historian Anney Bonney and texts contributed by David Cohen, Tom Cugliani and William J Simmons.

Threshold provides an overview of Kim's career from several vantage points: a curatorial essay by Eugenie Tsai on the concept of «threshold» in Kim's work, a conversation with Constance Lewallen, Glenn Ligon, Janine Antoni, and Kim on the 1990s art world, an essay on color theory and color in Kim's work by art historian Anoka Faruqee, and a new photo and text project by Kim himself.

Previous titles include: On Ron Gorchov, (2008) edited by Phong Bui; Pieces of a Decade: Brooklyn Rail Nonfiction 2000 - 2010, (2010) edited by Theodore Hamm and Williams Cole; Texts on (Texts on) Art, (2012) a collection of essays by the art historian Joseph Masheck; The Brooklyn Rail Fiction Anthology 2, (2013) edited by Donald Breckenridge; Oh SanArt, (2012) a collection of essays by the art historian Joseph Masheck; The Brooklyn Rail Fiction Anthology 2, (2013) edited by Donald Breckenridge; Oh Sanart historian Joseph Masheck; The Brooklyn Rail Fiction Anthology 2, (2013) edited by Donald Breckenridge; Oh Sandy!

It will feature texts by Barry Blinderman, exhibition curator and Director of University Galleries, Glenn O'Brien, Charles F. Stuckey, and art historian Vanessa Meikle Schulman.

The catalogue presents installation images from the exhibition at Kunsthall Stavanger, a selection of archival images, and commissioned texts from art historian Jenni Sorkin and writer and curator Wendy Vogel, with an introduction by Kunsthall Stavanger Director Hanne Mugaas and design by Alexander Nussbaumer.

Published in travel - guide format, the exhibition catalogue will feature texts by experts, urban historians and art critics.

In conjunction with the exhibition, Museo Picasso Málaga is publishing «The School of London» hardback book which features texts by its curator Elena Crippa and by art historian Catherine Lampert.

Broodthaers's institutional critiques, appropriations, discordant images and texts, mixed medium installations «which he called «decors» or «designed spaces» «and, to a lesser extent, films are beloved by art critics and historians (an entire issue of October was devoted to him in 1987).

A comprehensive publication by Ludion accompanied the exhibition with texts by renowned art historians, curators, and writers including, Jan Avgikos, Nicholas Cullinan, Jenevive Nykolak, and Nicholas Serota, as well as interviews with the artist by Lynne Cooke and His Excellency Sheikh Jassim bin Abdulaziz Al Thani.

This MOCA - published catalog includes texts by Rose Bouthillier, MOCA Cleveland's Associate Curator, and art historian Julian Myers - Szupinska.

Publications include Nihilistic Optimistic, published by Blain Southern London on the occasion of the inaugural exhibition at Hanover Square of the same title October 2012 with an interview by Hans Ulrich Obrist, an essay by Jon Savage and foreword by Gustav Metzger; Turning the Seventh Corner, published by Blain Southern, London, 2011, with texts by David Adjaye and James Putnam which comprehensively documents the conception and realisation of the artists» exhibition at Blain Southern, Berlin, 2011; British Rubbish, an updated survey of the artists» work from 1996 to 2010 with an essay by Jeffrey Deitch, and new texts by Michael Bracewell and Nick Cave, published October 2011 by Rizzoli, New York; Polymorphous Perverse, a documentation of works exhibited at the Freud Museum, London, providing a fascinating insight into Freud's theories and how they relate to art practice with critical essays from the distinguished American art historian Linda Nochlin and James Putnam, published by Other Criteria, London, 2008; and Wasted Youth, a survey of the artists» work from 1996 to 2006 with essays by Jeffrey Deitch and Sir Norman Rosenthal, published by Rizzoli, New York in 2006.

Focusing on his recent portraiture, this volume includes an essay by art historian and curator Jane Livingston that provides an overview of Raysse's practice, as well as three texts by the artist.

By editors Lisa Crossman and Céline Browning In the spirit of Black Mountain College, this text is written in a collaborative first person, thinking of Leap Before You Look through the lens of our own experiences as an art historian and...