Sentences with phrase «texts on art history»

The grain of a photocopy reminds me of the many texts on art history, theory and philosophy that I received as handouts in university classes.

Not exact matches

It said «most important» as in «this text has had a massive impact on human history, from wars to literature, from art to entire political systems; all have been heavily informed by this text.»

Nicholas Godfrey on The long game: Conversations with independent iconoclasts Roger Corman, George A. Romero, and Charles Burnett Douglas Gomery on America's Corporate Art: The Studio Authorship of Hollywood Motion Pictures Richard Martin on The Cinema of Michael Haneke Tessa Chudy on Polanski and Perception Cassandra Lovejoy on Deleuze and World Cinemas Martin Potter on Challenge for Change Ryan Taylor on Terrorism TV Vrasidas Karalis on Greek Cinema, Texts, Histories, Identities Ravi Sundaram on Shadow Economies of Cinema

Especially at the elementary level, where very little time is spent on science, history or the arts, it's critical the texts that underlie the reading curriculum are carefully selected so they coherently build students» rich knowledge of key content - area topics.

And if they have a literacy block that is stealing time from other subjects, they can develop text sets on science, history, and the arts to use during that block.

As expressed in the exhibition text, Unfinished Conversations considered the intertwining themes of social protest, the effect of history on the formation of identity, and how fact and fiction can be juxtaposed in art.

Text by Juliet Koss, Associate Professor of Art History at Scripps College in Claremont, California, is the author of Modernism after Wagner (University of Minnesota Press, 2010), a finalist for the College Art Association's Charles Rufus Morey Book Award, along with numerous essays on 19th - and 20th - century German and Soviet art, architecture, and related fielArt History at Scripps College in Claremont, California, is the author of Modernism after Wagner (University of Minnesota Press, 2010), a finalist for the College Art Association's Charles Rufus Morey Book Award, along with numerous essays on 19th - and 20th - century German and Soviet art, architecture, and related fielArt Association's Charles Rufus Morey Book Award, along with numerous essays on 19th - and 20th - century German and Soviet art, architecture, and related fielart, architecture, and related fields.

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 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 the greats.

Students read foundational texts on African art and the history of its display in Western museum institutions and discussed the issues and politics of these ventures.

These works are familiar from art history texts because their large, concave faces; stylized features; inventively worked bronze and copper surfaces; and ineffably human geometries exerted a crucial influence on early French Modernism, starting with Picasso's «Demoiselles d'Avignon.»

A comprehensive survey of current publications in the fields of visual and applied arts; includes the indexes ARTbibliographies Modern (covering modern and contemporary art), Design and Applied Arts Index (for all aspects of design and crafts) and the International Bibliography of Art (covering scholarship on Western art history), together with a complementary collection of current full - text journals, Arts and Humanities Full Tarts; includes the indexes ARTbibliographies Modern (covering modern and contemporary art), Design and Applied Arts Index (for all aspects of design and crafts) and the International Bibliography of Art (covering scholarship on Western art history), together with a complementary collection of current full - text journals, Arts and Humanities Full Teart), Design and Applied Arts Index (for all aspects of design and crafts) and the International Bibliography of Art (covering scholarship on Western art history), together with a complementary collection of current full - text journals, Arts and Humanities Full TArts Index (for all aspects of design and crafts) and the International Bibliography of Art (covering scholarship on Western art history), together with a complementary collection of current full - text journals, Arts and Humanities Full TeArt (covering scholarship on Western art history), together with a complementary collection of current full - text journals, Arts and Humanities Full Teart history), together with a complementary collection of current full - text journals, Arts and Humanities Full Ttext journals, Arts and Humanities Full TArts and Humanities Full TextText.

For many of the artists in «Ecstatic Alphabets» at the Museum of Modern Art, the chilly texts of Lawrence Weiner or the date paintings of On Kawara are history.

Okwui Okpokwasili «Poor People's TV Room» Museum of Contemporary Art Chicago 220 E Chicago Avenue Chicago OPENS: April 12 The Bessie Award — winning artist reflects on gender, identity, and history in this performance that blends original dance, song, film, and text.

She is author of more than 20 books and nearly 200 articles, reviews, and features, ranging from Salvador Dalí's Dream of Venus to The Essential Andy Warhol, from an essay on exhibition wall text to an art history of chocolate.

He is the author of numerous texts on Chicanx avant - garde art, video, and experimental cinema, and is a leading figure in the field of Latinx art history and visual culture.

The Intelligent Woman's Guide to Art is a new book built on the pages of an old one, a smart, witty take on art history collaged over the text and images of a 1950s introduction to fine art for «club women.&raqArt is a new book built on the pages of an old one, a smart, witty take on art history collaged over the text and images of a 1950s introduction to fine art for «club women.&raqart history collaged over the text and images of a 1950s introduction to fine art for «club women.&raqart for «club women.»

The publication is rounded out by Daniel Birnbaum's essay on contemporary time - based art and Kaye Geipel's text exploring the history and architecture of the century - old industrial building that was completely gutted and custom designed to house the collection.

Distinctions between theatrical tropes and task - oriented performance art, in fact, often pivot on these points, particularly when instructional score - like texts and photo documentation becomes a genre unto itself, as reflected in the somewhat recent art history of Allan Kaprow's intimate Life Art «happenings» which aestheticized normal human activity while blurring the boundaries between art and liart, in fact, often pivot on these points, particularly when instructional score - like texts and photo documentation becomes a genre unto itself, as reflected in the somewhat recent art history of Allan Kaprow's intimate Life Art «happenings» which aestheticized normal human activity while blurring the boundaries between art and liart history of Allan Kaprow's intimate Life Art «happenings» which aestheticized normal human activity while blurring the boundaries between art and liArt «happenings» which aestheticized normal human activity while blurring the boundaries between art and liart and life.

His installations (made of found and assembled objects, texts, collages and posters) make reference to legislative code, natural sciences and the history of art, and examine the structure of power and the transmittal of knowledge, thus revealing the sanctions on which they are founded.

Papers: Retroactive Effects: Notes on the History of Conceptual Art after the Conceptualisms Annabela Tournon Zubieta, École des Hautes Etudes en Sciences Sociales (EHESS); Contract as Form and Concept: The Siegelaub - Projansky Agreement in Art and Legal Histories Lauren van Haaften - Schick, Cornell University; Collecting Textiles, Documenting Texts: Seth Siegelaub's Endeavors after Art John A. Tyson, National Gallery of Art; Seth Siegelaub, Beyond Conceptual Art: Curating «Paperwork» at Stedelijk Museum Amsterdam Sara Martinetti, École des Hautes Etudes en Sciences Sociales (EHESS).

Leaning on long world histories first allows the «process reader» to pass the art historical texts and head directly to larger cultural and technical bits we all can recognize from everyday living.

This exhibition explores the highly formulated and transitional status of geometrical abstraction in the work of women artists from three generations: beginning with (Neo) concrete works on paper from the 1950s by Lygia Pape, to Minimal and Color Field paintings from the 1960s by Rosemarie Castoro and Gina Pane, the 1960 - 80s Pop Art influenced pattern paintings by Barbro Östlihn, to post-Concretist installations, structural and systemic experiments and text pieces from the 1970s and 80s by Lydia Okumura, Lenora de Barros, Martha Araújo, Dóra Maurer and Samia Halaby, to the original contemporary formulations of this history by Paloma Bosquê.

2011 Postcards from the Edge, CRG Gallery, New York, US Litos Grafere, Danish Art Center Silkeborg Bad, Silkeborg, DE; Museum of Stavanger, NO Freeriding, East / West Galleries, Woman's University, Denton, Texas, US Sculpture in So Many Words: Text Pieces 1960 - 75, Ziehersmith, New York, US Intrusions, Galerie Michèle Chomette, Paris, FR Compagni Di Viaggio - Traveling Companions, Mestna Galerija Ljubliana, SI L'Insoutenable Légéreté de L'Être, Yvon Lambert, VIP Art Fair, Online Art Fair, New York, US Box is a Box is a Box, Librairie Florence Loewy, Paris, FR Drawn / Taped / Burned Abstraction on Paper, Kotonah Museum of Art, Kotonah, New York, US As Long as it Lasts, Galerie Sonja Junkers, Munich, DE Works from the Pentti Kouri Collection, Tracy Williams Ltd, New York, US Picasso: Guitars 1912 - 1914, Museum of Modern Art (MoMA), New York, US Berlin International Film Festival, various theaters around Potsdamer Platz, Berlin, DE Observadores - Revelaҫões, Trânsitos e Distâncias, Museu Colecção Berardo, Lisbon, PT Market Art Fair, The Royal Swedish Academy of Fine Arts, Stockholm, SE Feuille à Feuille, Musée de Vence, FR TextVideo / Female: Art after 60's, PKM Gallery, Seoul, KR Topography / Topography, Brooke Alexander Editions, New York, US Bidoun Project, Mercer Street, New York, US Temporary Stedelijk 2 - Making Histories: Changing Views of the Collection, The Temporary Stedelijk at the Stedelijk Museum, Amsterdam, NL Push Pull, Rijksmuseum, Amsterdam, NL Bild / Objekt: Neuere Amerikanische Kunst aus der Sammlung, Kunstmuseum Winterthur, Winterthur, CH Tod's Art Plus Drama Party 2011, Whitechapel Gallery, London, UK Shelf Ramp Wedge Bridge, Fitzroy Gallery, New York, US CLAP, Hessel Museum of Art, Annandale - on - Hudson, New York, US 100 Briques Pour Madagascar Œuvres Contemporaines, Hotel Marcel Dassault, Paris, FR Bomb 30th Anniversary Gala and Silent Auction, Capitale, New York, US Benefit Auction from the Icelandic Wetlands, The Culture House, Reykjavik, IS Locations, Paula Cooper Gallery, New York, US As Long as it Lasts, Arratia, Beer Gallery, Berlin, DE After Hours: Murals on the Bowery, Festival of Ideas for a New City, New Museum and Art Production Fund, New York, US A Place to Which We Can Come, St. Cecilia Convent, Brooklyn, New York, US The End of Money, Witte de With, Rotterdam, NL Designing the Whitney of the Future, Hurst Gallery, Whitney Museum of American Art, New York, US Hong Kong International Art Fair, Hong Kong Convention and Exhibition Center, Hong Kong, CN Made in Italy, Gagosian Gallery, Rome, IT Jeff Wall The Crooked Path, Center for Fine Arts, Brussels, BE Through the Warp, Regina Rex, Ridgewood, New York, US Interloqui, National Glass Center, The University of Sunderland, Sunderland, UK Personal Structures, Palazzo Bembo, Venice, IT Arte in Movimento, La Galleria, Venice, IT Middle Age, Leo Castelli Gallery, New York, US Brooke Alexander Editions, Helga Maria Klosterfelde Edition, Berlin, DE Void if Removed: Concrete Erudition 4, Le Plateau - Fonds Régional d'art Contemporaind «Ile - de-France, Paris, FR As Far as the Eye Can See, The Field Sculpture Park, Omi International Art Center, Ghent, New York, US 20 Jahre Gegenwart, Museum für Moderne Kunst (MMK), Frankfurt am Main, DE Anarchism Without Adjectives: On the Work of Christopher D'Arcangelo, 1975 - 1979, Centre d'Art Contemporain de Brétigny, Brétigny, FR Play Time, Lieu D'art Contemporain, Sigean, FR Plot: Plan: Process Works on Paper from the 1960's to Now, Leslie Tonkonow, New York, US Distant Star / Estrella Distante, Regen Projects, Los Angeles, US 15 Minutes Homage to Andy Warhol, Pollock - Krasner House and Study Center, East Hampton, New York, US Seoul International New Media Festival, various cinemas in Seoul, KR Art = Text = Art: Works by Contemporary Artists, Joel and Lila Harnett Museum of Art, University of Richmond Museums, Henrico, US Melanchotopia, Witte de With, Rotterdam, NL Belvederon Paper, Kotonah Museum of Art, Kotonah, New York, US As Long as it Lasts, Galerie Sonja Junkers, Munich, DE Works from the Pentti Kouri Collection, Tracy Williams Ltd, New York, US Picasso: Guitars 1912 - 1914, Museum of Modern Art (MoMA), New York, US Berlin International Film Festival, various theaters around Potsdamer Platz, Berlin, DE Observadores - Revelaҫões, Trânsitos e Distâncias, Museu Colecção Berardo, Lisbon, PT Market Art Fair, The Royal Swedish Academy of Fine Arts, Stockholm, SE Feuille à Feuille, Musée de Vence, FR TextVideo / Female: Art after 60's, PKM Gallery, Seoul, KR Topography / Topography, Brooke Alexander Editions, New York, US Bidoun Project, Mercer Street, New York, US Temporary Stedelijk 2 - Making Histories: Changing Views of the Collection, The Temporary Stedelijk at the Stedelijk Museum, Amsterdam, NL Push Pull, Rijksmuseum, Amsterdam, NL Bild / Objekt: Neuere Amerikanische Kunst aus der Sammlung, Kunstmuseum Winterthur, Winterthur, CH Tod's Art Plus Drama Party 2011, Whitechapel Gallery, London, UK Shelf Ramp Wedge Bridge, Fitzroy Gallery, New York, US CLAP, Hessel Museum of Art, Annandale - on - Hudson, New York, US 100 Briques Pour Madagascar Œuvres Contemporaines, Hotel Marcel Dassault, Paris, FR Bomb 30th Anniversary Gala and Silent Auction, Capitale, New York, US Benefit Auction from the Icelandic Wetlands, The Culture House, Reykjavik, IS Locations, Paula Cooper Gallery, New York, US As Long as it Lasts, Arratia, Beer Gallery, Berlin, DE After Hours: Murals on the Bowery, Festival of Ideas for a New City, New Museum and Art Production Fund, New York, US A Place to Which We Can Come, St. Cecilia Convent, Brooklyn, New York, US The End of Money, Witte de With, Rotterdam, NL Designing the Whitney of the Future, Hurst Gallery, Whitney Museum of American Art, New York, US Hong Kong International Art Fair, Hong Kong Convention and Exhibition Center, Hong Kong, CN Made in Italy, Gagosian Gallery, Rome, IT Jeff Wall The Crooked Path, Center for Fine Arts, Brussels, BE Through the Warp, Regina Rex, Ridgewood, New York, US Interloqui, National Glass Center, The University of Sunderland, Sunderland, UK Personal Structures, Palazzo Bembo, Venice, IT Arte in Movimento, La Galleria, Venice, IT Middle Age, Leo Castelli Gallery, New York, US Brooke Alexander Editions, Helga Maria Klosterfelde Edition, Berlin, DE Void if Removed: Concrete Erudition 4, Le Plateau - Fonds Régional d'art Contemporaind «Ile - de-France, Paris, FR As Far as the Eye Can See, The Field Sculpture Park, Omi International Art Center, Ghent, New York, US 20 Jahre Gegenwart, Museum für Moderne Kunst (MMK), Frankfurt am Main, DE Anarchism Without Adjectives: On the Work of Christopher D'Arcangelo, 1975 - 1979, Centre d'Art Contemporain de Brétigny, Brétigny, FR Play Time, Lieu D'art Contemporain, Sigean, FR Plot: Plan: Process Works on Paper from the 1960's to Now, Leslie Tonkonow, New York, US Distant Star / Estrella Distante, Regen Projects, Los Angeles, US 15 Minutes Homage to Andy Warhol, Pollock - Krasner House and Study Center, East Hampton, New York, US Seoul International New Media Festival, various cinemas in Seoul, KR Art = Text = Art: Works by Contemporary Artists, Joel and Lila Harnett Museum of Art, University of Richmond Museums, Henrico, US Melanchotopia, Witte de With, Rotterdam, NL Belvederon - Hudson, New York, US 100 Briques Pour Madagascar Œuvres Contemporaines, Hotel Marcel Dassault, Paris, FR Bomb 30th Anniversary Gala and Silent Auction, Capitale, New York, US Benefit Auction from the Icelandic Wetlands, The Culture House, Reykjavik, IS Locations, Paula Cooper Gallery, New York, US As Long as it Lasts, Arratia, Beer Gallery, Berlin, DE After Hours: Murals on the Bowery, Festival of Ideas for a New City, New Museum and Art Production Fund, New York, US A Place to Which We Can Come, St. Cecilia Convent, Brooklyn, New York, US The End of Money, Witte de With, Rotterdam, NL Designing the Whitney of the Future, Hurst Gallery, Whitney Museum of American Art, New York, US Hong Kong International Art Fair, Hong Kong Convention and Exhibition Center, Hong Kong, CN Made in Italy, Gagosian Gallery, Rome, IT Jeff Wall The Crooked Path, Center for Fine Arts, Brussels, BE Through the Warp, Regina Rex, Ridgewood, New York, US Interloqui, National Glass Center, The University of Sunderland, Sunderland, UK Personal Structures, Palazzo Bembo, Venice, IT Arte in Movimento, La Galleria, Venice, IT Middle Age, Leo Castelli Gallery, New York, US Brooke Alexander Editions, Helga Maria Klosterfelde Edition, Berlin, DE Void if Removed: Concrete Erudition 4, Le Plateau - Fonds Régional d'art Contemporaind «Ile - de-France, Paris, FR As Far as the Eye Can See, The Field Sculpture Park, Omi International Art Center, Ghent, New York, US 20 Jahre Gegenwart, Museum für Moderne Kunst (MMK), Frankfurt am Main, DE Anarchism Without Adjectives: On the Work of Christopher D'Arcangelo, 1975 - 1979, Centre d'Art Contemporain de Brétigny, Brétigny, FR Play Time, Lieu D'art Contemporain, Sigean, FR Plot: Plan: Process Works on Paper from the 1960's to Now, Leslie Tonkonow, New York, US Distant Star / Estrella Distante, Regen Projects, Los Angeles, US 15 Minutes Homage to Andy Warhol, Pollock - Krasner House and Study Center, East Hampton, New York, US Seoul International New Media Festival, various cinemas in Seoul, KR Art = Text = Art: Works by Contemporary Artists, Joel and Lila Harnett Museum of Art, University of Richmond Museums, Henrico, US Melanchotopia, Witte de With, Rotterdam, NL Belvederon the Bowery, Festival of Ideas for a New City, New Museum and Art Production Fund, New York, US A Place to Which We Can Come, St. Cecilia Convent, Brooklyn, New York, US The End of Money, Witte de With, Rotterdam, NL Designing the Whitney of the Future, Hurst Gallery, Whitney Museum of American Art, New York, US Hong Kong International Art Fair, Hong Kong Convention and Exhibition Center, Hong Kong, CN Made in Italy, Gagosian Gallery, Rome, IT Jeff Wall The Crooked Path, Center for Fine Arts, Brussels, BE Through the Warp, Regina Rex, Ridgewood, New York, US Interloqui, National Glass Center, The University of Sunderland, Sunderland, UK Personal Structures, Palazzo Bembo, Venice, IT Arte in Movimento, La Galleria, Venice, IT Middle Age, Leo Castelli Gallery, New York, US Brooke Alexander Editions, Helga Maria Klosterfelde Edition, Berlin, DE Void if Removed: Concrete Erudition 4, Le Plateau - Fonds Régional d'art Contemporaind «Ile - de-France, Paris, FR As Far as the Eye Can See, The Field Sculpture Park, Omi International Art Center, Ghent, New York, US 20 Jahre Gegenwart, Museum für Moderne Kunst (MMK), Frankfurt am Main, DE Anarchism Without Adjectives: On the Work of Christopher D'Arcangelo, 1975 - 1979, Centre d'Art Contemporain de Brétigny, Brétigny, FR Play Time, Lieu D'art Contemporain, Sigean, FR Plot: Plan: Process Works on Paper from the 1960's to Now, Leslie Tonkonow, New York, US Distant Star / Estrella Distante, Regen Projects, Los Angeles, US 15 Minutes Homage to Andy Warhol, Pollock - Krasner House and Study Center, East Hampton, New York, US Seoul International New Media Festival, various cinemas in Seoul, KR Art = Text = Art: Works by Contemporary Artists, Joel and Lila Harnett Museum of Art, University of Richmond Museums, Henrico, US Melanchotopia, Witte de With, Rotterdam, NL BelvederOn the Work of Christopher D'Arcangelo, 1975 - 1979, Centre d'Art Contemporain de Brétigny, Brétigny, FR Play Time, Lieu D'art Contemporain, Sigean, FR Plot: Plan: Process Works on Paper from the 1960's to Now, Leslie Tonkonow, New York, US Distant Star / Estrella Distante, Regen Projects, Los Angeles, US 15 Minutes Homage to Andy Warhol, Pollock - Krasner House and Study Center, East Hampton, New York, US Seoul International New Media Festival, various cinemas in Seoul, KR Art = Text = Art: Works by Contemporary Artists, Joel and Lila Harnett Museum of Art, University of Richmond Museums, Henrico, US Melanchotopia, Witte de With, Rotterdam, NL Belvederon Paper from the 1960's to Now, Leslie Tonkonow, New York, US Distant Star / Estrella Distante, Regen Projects, Los Angeles, US 15 Minutes Homage to Andy Warhol, Pollock - Krasner House and Study Center, East Hampton, New York, US Seoul International New Media Festival, various cinemas in Seoul, KR Art = Text = Art: Works by Contemporary Artists, Joel and Lila Harnett Museum of Art, University of Richmond Museums, Henrico, US Melanchotopia, Witte de With, Rotterdam, NL Belvedere.

The catalogue features essays by exhibition curators Jennifer Blessing (Senior Curator of Photography at the Guggenheim) and Sandra S. Phillips (Senior Curator of Photography at the San Francisco Museum of Modern Art); an interview with the artist by Jan van Adrichem; interviews with the artist's subjects by Sophie Derkzer; short texts on the artist's series by Chelsea Spengemann; and the most comprehensive exhibition history and bibliography to date.

Focusing on society's relation to the perception of objects and texts, his work highlights the intersection of art history, music, literature, fashion, and the black experience.

This text sheds light on Gauguin's conception of art — widely considered a predecessor to Duchamp — and engages with many issues still relevant today: history, novelty, criticism, and the market.

Upon their return to the U.S., the Holladays sought information on Peeters, but, to Mrs. Holladay's surprise, Peeters» name could not be found in any of the art history survey texts.

Middlesbrough Institute of Modern Art with Pablo Helguera Mexican, New York - based artist and writer Pablo Helguera's (b. 1971) practice focuses on topics ranging from history, pedagogy, sociolinguistics and ethnography in mediums that are widely varied, including socially - engaged projects, museum display strategies, lectures, musical performances, essays and fictional texts.

A Professor at the University of Virginia (1938 - 50), and chief art critic for the influential New York Times newspaper (1958 - 74), Canaday also wrote several influential books on the history of art, notably Mainstreams of Modern Art: David to Picasso (1959), winner of the Athenaeum Literary Award and a standard text in art schools for many yeaart critic for the influential New York Times newspaper (1958 - 74), Canaday also wrote several influential books on the history of art, notably Mainstreams of Modern Art: David to Picasso (1959), winner of the Athenaeum Literary Award and a standard text in art schools for many yeaart, notably Mainstreams of Modern Art: David to Picasso (1959), winner of the Athenaeum Literary Award and a standard text in art schools for many yeaArt: David to Picasso (1959), winner of the Athenaeum Literary Award and a standard text in art schools for many yeaart schools for many years.

«Shades of Black (ness),» Davison Art Center, Wesleyan University, Middletown, CT, January 25 — March 3, 2005 «Collection Remixed,» The Bronx Museum of the Arts, Bronx, NY, February 3 — June 5, 2005; catalogue «Landscape,» Whitney Museum of American Art, New York, NY, March 24 — September 18, 2005 «The Shape of Time,» Walker Art Center, Minneapolis, MN, April 17, 2005 — October 25, 2009 «Very Early Pictures,» Luckman Gallery, California State University, Los Angeles, CA, May 26 — July 23, 2005; traveled to Arcadia University Gallery, Glenside, PA, September 6 — October 30, 2005 «African American Art: Masterworks of Contemporary Art,» Saint Louis Art Museum, St. Louis, MO, June 24 — August 28, 2005 «Wordplay: Text and Image from 1950 to Now,» Davison Art Center, Wesleyan University, Middletown, CT, October 25 — December 11, 2005 «The Painted Word: Language as Image in Modern Art,» Williams Center for the Arts Gallery, Lafayette College, Easton, PA, October 28 — December 14, 2005; brochure «Between Image and Concept: Recent Acquisitions in African American Art,» Princeton University Art Museum, Princeton, NJ, November 12, 2005 — February 6, 2006 «Beauford Delaney in Context: Selections from the Collection,» Philadelphia Museum of Art, Philadelphia, PA, November 13, 2005 — February 26, 2006 «A Brief History of Invisible Art,» CCA Wattis Institute for Contemporary Arts, San Francisco, CA, November 30, 2005 — February 21, 2006 «Linkages and Themes in the African Diaspora,» Museum of the African Diaspora, San Francisco, CA, December 1, 2005 — March 12, 2006 «Looking at Words: The Formal Presence of Text in Modern Contemporary Works on Paper,» conceived by Barbaralee Diamonstein - Spielvogel, Andrea Rosen Gallery, New York, NY, October 28, 2005 — January 15, 2006 «Collective Histories / Collective Memories: California Modern,» Orange County Museum of Art, Newport Beach, CA, February 9, 2005 — September 26, 2006 «Drawing from the Modern, 1975 - 2005,» Museum of Modern Art, New York, NY, September 14, 2005 — January 9, 2006 «ROMANCE (a novel),» curated by Adriano Pedrosa, Cristina Guerra Contemporary Art, Lisbon, Portugal, September 14 — October 15, 2005; catalogue «A Thousand Words,» Inman Gallery, Houston, TX, July 9 — August 27, 2005 «Getting Emotional,» Institute of Contemporary Art, Boston, MA, May 18 — September 5, 2005 «Double Consciousness: Black Conceptual Art Since 1970,» organized by Valerie Cassel Oliver, Contemporary Arts Museum, Houston, TX, January 22 — April 17, 2005

This richly illustrated book contains essays on the intersections between art and magic by Jonathan Allen and Sally O'Reilly; texts on each of the 24 featured artists; new writing on the cultural history of magic by Simon During, Brigitte Felderer, Peter Lamont, Pierre Taillefer, Helen Varola and Marina Warner; a fold - out collation of texts and images exploring the dynamics of magic, art and power; and an illustrated selection of props and offbeat ephemera from the world of theatrical magic.

United across all three levels of the museum by the artist's use of «supergraphics» — lengthy text excerpts printed at enormous size on a boldly colored background — The Production Line of Happiness offers 35 years of beautifully made, conceptually rich photography that mines the history of contemporary art and modern political opposition.

«Minimalism was a necessary, even valuable phase, of modern art,» states «History of Art,» a monumental text on Western art written by H.W. Janson and subsequently revised and expandart,» states «History of Art,» a monumental text on Western art written by H.W. Janson and subsequently revised and expandArt,» a monumental text on Western art written by H.W. Janson and subsequently revised and expandart written by H.W. Janson and subsequently revised and expanded.