Sentences with phrase «than art historians»
He pointed me toward Frank O'Hara and John Ashbery, as well as Donald Judd and Robert Smithson — practitioners, rather than art historians.
https://brooklynrail.org/
There will be more historians than art historians, more historians than curators.
Not exact matches
She quotes Stephen Ozment, a Reformation historian, who contends that «never has the art of parenting been more highly praised and parental authority more wholeheartedly supported than in Reformation Europe.»
By God but he was a delightful conversationalist — never more so than at table, whether with family or friends, John presiding at one end and his drily witty wife, Mary Lee, an art historian, at the other.
During a four - year excavation of an Etruscan well at the ancient Italian settlement of Cetamura del Chianti, a team led by a Florida State University archaeologist and art historian unearthed artifacts spanning more than 15 centuries of Etruscan, Roman and medieval civilization in Tuscany.
Still, this window on the past is less than perfect, warns Linda Evans, an environmental historian at Macquarie University in Sydney, Australia, who studies representations of animals in ancient Egyptian art.
Dana Claudat is a modern Feng Shui Master, designer and founder of the blog The Tao of Dana.She is a Stanford - educated art historian with more than a decade of experience in design, feng shui and research with thousands of clients, yet her approach to space is simple.
Nowhere is more inspiring for keen young art historians than the city of Florence, where at every turn visitors stumble across fascinating museums, art exhibitions and magnificently frescoed churches.
Despite contemporary and localizing references in The Little Patriots, such as the dome of the Pantheon in the background or the paving - stone barricade to the left, the pall of the academic poncif hangs heavier over the painting than the smoke of revolutionary fervor; one is made all too aware, in the pose of the little patriot in the center — reminiscent of that of Donatello's David, and so appropriate in its iconographic implications — that Jeanron was an art historian as well as an artist.
The early ones especially, and Short Circuit most definitely, are loaded with personal, autobiographical, and even private esoteric references, which critic Yve - Alain Bois derided as «semantic traps,» good for little more than «keeping art historians busy for generations to come.»
In a provocative article titled «The Curious Case of Contemporary Ink Painting» (Art Journal, Fall 2010), art historian Joan Kee has recently suggested that despite being chosen to represent South Korea in international biennials in the 1960s, Suh and other Mungnimhoe painters were marginalized in their own country by being classed as «ink painters» rather than as contemporary artisArt Journal, Fall 2010), art historian Joan Kee has recently suggested that despite being chosen to represent South Korea in international biennials in the 1960s, Suh and other Mungnimhoe painters were marginalized in their own country by being classed as «ink painters» rather than as contemporary artisart historian Joan Kee has recently suggested that despite being chosen to represent South Korea in international biennials in the 1960s, Suh and other Mungnimhoe painters were marginalized in their own country by being classed as «ink painters» rather than as contemporary artists.
«It is now more than fifteen years ago that specimens of a new and mysterious art were first exhibited to our wondering gaze,» the British art critic and historian Lady Elizabeth Eastlake wrote in 1857.
With the full picture in sight, are the art historians happier today than before?
Twombly's early art has less in common with his later erudite sources such as Homer or the historian Edward Gibbon than it does with Allen Ginsberg's Beat poem Howl.
Creative Time curator Nato Thompson has made it pretty clear that he is more interested in social engagement than in «participatory art,» a term used by art historian Claire Bishop: that is, if given a choice between art and social engagement, he'll go with social engagement.
Though highly regarded by art historians, Mr. Richter's figurative paintings tend to be less sought after by today's collectors than his more decorative abstracts.
Art historian Lucy Lippard wrote at the time: «Certain elements — a central focus (often «empty,» often circular or oval), parabolic baglike forms, obsessive line and detail, veiled strata, tactile or sensuous surfaces and forms, associative fragmentation, autobiographical emphasis, and so forth — are found far more often in the work of women than of men.»
An even greater challenge than the timeline, though, may have been the years bringing along the passionate and demanding art historian and collector William S. Arnett.
Chosen from more than 500 nominations by significant international critics, curators, art historians and creative writers, Vitamin 3 - D's 117 established and emerging artists were selected on the basis that they have made a significant contribution to sculpture and installation (in their broadest sense) in the last five years.
The White Review No. 14 features interviews with the art critic, historian and October journal editor Hal Foster; British artist Mark Leckey, whose hugely influential film «Fiorucci Made Me Hardcore» was memorably described by Ed Atkins as «better than art»; and the novelist Rachel Cusk, who talks about her commitment to «writing sentences that aren't the product of sentences written by other people.»
Germano Celant, a renowned art historian, critic, and theoretician, has served as the curator of hundreds of exhibitions worldwide and published more than one hundred books and catalogs.
Suddenly artists long lost to history are being celebrated as seminal figures — which is maybe more true in some cases than others, but I'll let the art historians sort that through.
This program is tailored to art historians with a demonstrated commitment to a curatorial career in the field of old master and nineteenth - century drawings and less than five years of full - time museum work experience.
Rather than a straight reflection on the medium, Danish art historian and curator Lars Bang Larsen's Networks cleverly focuses on the once - hot - but - now - not topic of the fundamental and perhaps autonomous power (ie not purely assignable to or activated by human beings) of interconnected nodes or networks.
For a start, how about teaching art history in art lessons from the point of view of the artist, tell them Francis Bacon hung about with the Krays, or that Caravaggio murdered someone, let them know that the stuff about the vanishing point and composition are tools for conveying aspects of life, death, fear, sex - god forbid, humour - and those po faced dullards with posh voices that stand in front of great works pointing at background views of Tuscany are no more to do with painting pictures than I am an art historian.
Its second half comes in the form of a glossary of more than 100 key concepts linked to the subject of art in public spaces; artists, art historians, philosophers, urbanists, architects, sociologists and other writers weighing in with definitions from their respective disciplinary perspectives.
But, as observed by American art historian and poet Barry Schwabsky, Altfest's work is perhaps best considered as being «image - based», rather than representational in the sense of the Western art tradition that developed from the Renaissance.
«It's a dealer's collection more than a museum,» mourned one art historian.
VSR Art historians sometimes make the conscious decision not to write about living artists because it requires a whole different set of negotiations than looking at a completed body of work and trying to contextualize and interpret it in the light of whatever documentation is left.
As early as the mid-1990s, art historian Isabelle Graw wrote of this development that the critique of art, its institutions, and its social contexts has become little more than «subversion for hire.»
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.
One had to feel a little sorry for him in the reckoning: One of his paintings, through no doings of his own, breaks auction records for a work by a living European artist, and he gets pitted against no less a luminary than Giovanni Battista Tiepolo as quintessential of what art historian James Meyer called the market's «overestimation of the contemporary.»
The Chicago - based art historian Wu Hung has been hired to be consulting artistic director for the project, which Govan said will involve more than just traveling exhibitions between the two collections.
She has worked as an art historian and curator for more than 30 years, moving between Los Angeles and New York City, Europe and Asia.
The Paris School is a term used by art historians to denote the community of artists, both French and foreign, working in the city during the first half of the 20th century, rather than a strictly defined style, school or movement.
Curator and art historian Jack McGrath will offer an illustrated catalogue essay situating these varied strategies within a context yet deeper than the century represented in the exhibition.
Germano Celant, a renowned art historian, critic, and theorist, has served as the curator of hundreds of exhibitions worldwide and published more than one hundred books and catalogs.
This was an Abstract Expressionism that was being fed in a different way than we were asked to understand by most art historians and in which the artist was imagined as always outside of time in order to make the historical past uniquely contemporary in their own work.
Some Americans art historians believed that your work possessed a kind of symbolic and emotional content that reflected the experience of the war more accurately than other painters and, in a way, different form the paintings of the abstract expressionists.
Etienne Wynants (Art historian, managing editor of art publication the Witte Raaf, and business coordinator of the Etablissement d'en face in Brussels) Hans Theys (Art critic and curator, author of more than 30 books on Contemporary art, lecturer at the Royal Academy of Art in Antwerp and Ghent) Sam Steverlynck (Art critic for publications such as De Standaard, H ART, Damn magazine, and Artsland; curator of the exhibition «A Simple Plan» in a private villa designed by Stéphane Beel) Liesbeth Huybrechts (Author, researcher on topics such as digital media, lecturer for various academic art institutes such as LUCA and Mondriaan Foundation) Hans De Wolf (Art historian, professor, author of numerous publications on contemporary art, distinguished specialist on Marchel Duchamp) Pierre - Yves Desaive (Art historian and critic specializing in contemporary art, curator at the Musuem of Royal Arts, Brussels) Eric Rinckhout (Art, architecture, and literature writer for De Morgen; author of three books on Willem ElsschArt historian, managing editor of art publication the Witte Raaf, and business coordinator of the Etablissement d'en face in Brussels) Hans Theys (Art critic and curator, author of more than 30 books on Contemporary art, lecturer at the Royal Academy of Art in Antwerp and Ghent) Sam Steverlynck (Art critic for publications such as De Standaard, H ART, Damn magazine, and Artsland; curator of the exhibition «A Simple Plan» in a private villa designed by Stéphane Beel) Liesbeth Huybrechts (Author, researcher on topics such as digital media, lecturer for various academic art institutes such as LUCA and Mondriaan Foundation) Hans De Wolf (Art historian, professor, author of numerous publications on contemporary art, distinguished specialist on Marchel Duchamp) Pierre - Yves Desaive (Art historian and critic specializing in contemporary art, curator at the Musuem of Royal Arts, Brussels) Eric Rinckhout (Art, architecture, and literature writer for De Morgen; author of three books on Willem ElsschArt historian, managing editor of art publication the Witte Raaf, and business coordinator of the Etablissement d'en face in Brussels) Hans Theys (Art critic and curator, author of more than 30 books on Contemporary art, lecturer at the Royal Academy of Art in Antwerp and Ghent) Sam Steverlynck (Art critic for publications such as De Standaard, H ART, Damn magazine, and Artsland; curator of the exhibition «A Simple Plan» in a private villa designed by Stéphane Beel) Liesbeth Huybrechts (Author, researcher on topics such as digital media, lecturer for various academic art institutes such as LUCA and Mondriaan Foundation) Hans De Wolf (Art historian, professor, author of numerous publications on contemporary art, distinguished specialist on Marchel Duchamp) Pierre - Yves Desaive (Art historian and critic specializing in contemporary art, curator at the Musuem of Royal Arts, Brussels) Eric Rinckhout (Art, architecture, and literature writer for De Morgen; author of three books on Willem Elsschart publication the Witte Raaf, and business coordinator of the Etablissement d'en face in Brussels) Hans Theys (Art critic and curator, author of more than 30 books on Contemporary art, lecturer at the Royal Academy of Art in Antwerp and Ghent) Sam Steverlynck (Art critic for publications such as De Standaard, H ART, Damn magazine, and Artsland; curator of the exhibition «A Simple Plan» in a private villa designed by Stéphane Beel) Liesbeth Huybrechts (Author, researcher on topics such as digital media, lecturer for various academic art institutes such as LUCA and Mondriaan Foundation) Hans De Wolf (Art historian, professor, author of numerous publications on contemporary art, distinguished specialist on Marchel Duchamp) Pierre - Yves Desaive (Art historian and critic specializing in contemporary art, curator at the Musuem of Royal Arts, Brussels) Eric Rinckhout (Art, architecture, and literature writer for De Morgen; author of three books on Willem Elsschart publication the Witte Raaf, and business coordinator of the Etablissement d'en face in Brussels) Hans Theys (Art critic and curator, author of more than 30 books on Contemporary art, lecturer at the Royal Academy of Art in Antwerp and Ghent) Sam Steverlynck (Art critic for publications such as De Standaard, H ART, Damn magazine, and Artsland; curator of the exhibition «A Simple Plan» in a private villa designed by Stéphane Beel) Liesbeth Huybrechts (Author, researcher on topics such as digital media, lecturer for various academic art institutes such as LUCA and Mondriaan Foundation) Hans De Wolf (Art historian, professor, author of numerous publications on contemporary art, distinguished specialist on Marchel Duchamp) Pierre - Yves Desaive (Art historian and critic specializing in contemporary art, curator at the Musuem of Royal Arts, Brussels) Eric Rinckhout (Art, architecture, and literature writer for De Morgen; author of three books on Willem ElsschArt critic and curator, author of more than 30 books on Contemporary art, lecturer at the Royal Academy of Art in Antwerp and Ghent) Sam Steverlynck (Art critic for publications such as De Standaard, H ART, Damn magazine, and Artsland; curator of the exhibition «A Simple Plan» in a private villa designed by Stéphane Beel) Liesbeth Huybrechts (Author, researcher on topics such as digital media, lecturer for various academic art institutes such as LUCA and Mondriaan Foundation) Hans De Wolf (Art historian, professor, author of numerous publications on contemporary art, distinguished specialist on Marchel Duchamp) Pierre - Yves Desaive (Art historian and critic specializing in contemporary art, curator at the Musuem of Royal Arts, Brussels) Eric Rinckhout (Art, architecture, and literature writer for De Morgen; author of three books on Willem ElsschArt critic and curator, author of more than 30 books on Contemporary art, lecturer at the Royal Academy of Art in Antwerp and Ghent) Sam Steverlynck (Art critic for publications such as De Standaard, H ART, Damn magazine, and Artsland; curator of the exhibition «A Simple Plan» in a private villa designed by Stéphane Beel) Liesbeth Huybrechts (Author, researcher on topics such as digital media, lecturer for various academic art institutes such as LUCA and Mondriaan Foundation) Hans De Wolf (Art historian, professor, author of numerous publications on contemporary art, distinguished specialist on Marchel Duchamp) Pierre - Yves Desaive (Art historian and critic specializing in contemporary art, curator at the Musuem of Royal Arts, Brussels) Eric Rinckhout (Art, architecture, and literature writer for De Morgen; author of three books on Willem Elsschart, lecturer at the Royal Academy of Art in Antwerp and Ghent) Sam Steverlynck (Art critic for publications such as De Standaard, H ART, Damn magazine, and Artsland; curator of the exhibition «A Simple Plan» in a private villa designed by Stéphane Beel) Liesbeth Huybrechts (Author, researcher on topics such as digital media, lecturer for various academic art institutes such as LUCA and Mondriaan Foundation) Hans De Wolf (Art historian, professor, author of numerous publications on contemporary art, distinguished specialist on Marchel Duchamp) Pierre - Yves Desaive (Art historian and critic specializing in contemporary art, curator at the Musuem of Royal Arts, Brussels) Eric Rinckhout (Art, architecture, and literature writer for De Morgen; author of three books on Willem Elsschart, lecturer at the Royal Academy of Art in Antwerp and Ghent) Sam Steverlynck (Art critic for publications such as De Standaard, H ART, Damn magazine, and Artsland; curator of the exhibition «A Simple Plan» in a private villa designed by Stéphane Beel) Liesbeth Huybrechts (Author, researcher on topics such as digital media, lecturer for various academic art institutes such as LUCA and Mondriaan Foundation) Hans De Wolf (Art historian, professor, author of numerous publications on contemporary art, distinguished specialist on Marchel Duchamp) Pierre - Yves Desaive (Art historian and critic specializing in contemporary art, curator at the Musuem of Royal Arts, Brussels) Eric Rinckhout (Art, architecture, and literature writer for De Morgen; author of three books on Willem ElsschArt in Antwerp and Ghent) Sam Steverlynck (Art critic for publications such as De Standaard, H ART, Damn magazine, and Artsland; curator of the exhibition «A Simple Plan» in a private villa designed by Stéphane Beel) Liesbeth Huybrechts (Author, researcher on topics such as digital media, lecturer for various academic art institutes such as LUCA and Mondriaan Foundation) Hans De Wolf (Art historian, professor, author of numerous publications on contemporary art, distinguished specialist on Marchel Duchamp) Pierre - Yves Desaive (Art historian and critic specializing in contemporary art, curator at the Musuem of Royal Arts, Brussels) Eric Rinckhout (Art, architecture, and literature writer for De Morgen; author of three books on Willem ElsschArt in Antwerp and Ghent) Sam Steverlynck (Art critic for publications such as De Standaard, H ART, Damn magazine, and Artsland; curator of the exhibition «A Simple Plan» in a private villa designed by Stéphane Beel) Liesbeth Huybrechts (Author, researcher on topics such as digital media, lecturer for various academic art institutes such as LUCA and Mondriaan Foundation) Hans De Wolf (Art historian, professor, author of numerous publications on contemporary art, distinguished specialist on Marchel Duchamp) Pierre - Yves Desaive (Art historian and critic specializing in contemporary art, curator at the Musuem of Royal Arts, Brussels) Eric Rinckhout (Art, architecture, and literature writer for De Morgen; author of three books on Willem ElsschArt critic for publications such as De Standaard, H ART, Damn magazine, and Artsland; curator of the exhibition «A Simple Plan» in a private villa designed by Stéphane Beel) Liesbeth Huybrechts (Author, researcher on topics such as digital media, lecturer for various academic art institutes such as LUCA and Mondriaan Foundation) Hans De Wolf (Art historian, professor, author of numerous publications on contemporary art, distinguished specialist on Marchel Duchamp) Pierre - Yves Desaive (Art historian and critic specializing in contemporary art, curator at the Musuem of Royal Arts, Brussels) Eric Rinckhout (Art, architecture, and literature writer for De Morgen; author of three books on Willem ElsschArt critic for publications such as De Standaard, H ART, Damn magazine, and Artsland; curator of the exhibition «A Simple Plan» in a private villa designed by Stéphane Beel) Liesbeth Huybrechts (Author, researcher on topics such as digital media, lecturer for various academic art institutes such as LUCA and Mondriaan Foundation) Hans De Wolf (Art historian, professor, author of numerous publications on contemporary art, distinguished specialist on Marchel Duchamp) Pierre - Yves Desaive (Art historian and critic specializing in contemporary art, curator at the Musuem of Royal Arts, Brussels) Eric Rinckhout (Art, architecture, and literature writer for De Morgen; author of three books on Willem ElsschART, Damn magazine, and Artsland; curator of the exhibition «A Simple Plan» in a private villa designed by Stéphane Beel) Liesbeth Huybrechts (Author, researcher on topics such as digital media, lecturer for various academic art institutes such as LUCA and Mondriaan Foundation) Hans De Wolf (Art historian, professor, author of numerous publications on contemporary art, distinguished specialist on Marchel Duchamp) Pierre - Yves Desaive (Art historian and critic specializing in contemporary art, curator at the Musuem of Royal Arts, Brussels) Eric Rinckhout (Art, architecture, and literature writer for De Morgen; author of three books on Willem ElsschART, Damn magazine, and Artsland; curator of the exhibition «A Simple Plan» in a private villa designed by Stéphane Beel) Liesbeth Huybrechts (Author, researcher on topics such as digital media, lecturer for various academic art institutes such as LUCA and Mondriaan Foundation) Hans De Wolf (Art historian, professor, author of numerous publications on contemporary art, distinguished specialist on Marchel Duchamp) Pierre - Yves Desaive (Art historian and critic specializing in contemporary art, curator at the Musuem of Royal Arts, Brussels) Eric Rinckhout (Art, architecture, and literature writer for De Morgen; author of three books on Willem Elsschart institutes such as LUCA and Mondriaan Foundation) Hans De Wolf (Art historian, professor, author of numerous publications on contemporary art, distinguished specialist on Marchel Duchamp) Pierre - Yves Desaive (Art historian and critic specializing in contemporary art, curator at the Musuem of Royal Arts, Brussels) Eric Rinckhout (Art, architecture, and literature writer for De Morgen; author of three books on Willem Elsschart institutes such as LUCA and Mondriaan Foundation) Hans De Wolf (Art historian, professor, author of numerous publications on contemporary art, distinguished specialist on Marchel Duchamp) Pierre - Yves Desaive (Art historian and critic specializing in contemporary art, curator at the Musuem of Royal Arts, Brussels) Eric Rinckhout (Art, architecture, and literature writer for De Morgen; author of three books on Willem ElsschArt historian, professor, author of numerous publications on contemporary art, distinguished specialist on Marchel Duchamp) Pierre - Yves Desaive (Art historian and critic specializing in contemporary art, curator at the Musuem of Royal Arts, Brussels) Eric Rinckhout (Art, architecture, and literature writer for De Morgen; author of three books on Willem ElsschArt historian, professor, author of numerous publications on contemporary art, distinguished specialist on Marchel Duchamp) Pierre - Yves Desaive (Art historian and critic specializing in contemporary art, curator at the Musuem of Royal Arts, Brussels) Eric Rinckhout (Art, architecture, and literature writer for De Morgen; author of three books on Willem Elsschart, distinguished specialist on Marchel Duchamp) Pierre - Yves Desaive (Art historian and critic specializing in contemporary art, curator at the Musuem of Royal Arts, Brussels) Eric Rinckhout (Art, architecture, and literature writer for De Morgen; author of three books on Willem Elsschart, distinguished specialist on Marchel Duchamp) Pierre - Yves Desaive (Art historian and critic specializing in contemporary art, curator at the Musuem of Royal Arts, Brussels) Eric Rinckhout (Art, architecture, and literature writer for De Morgen; author of three books on Willem ElsschArt historian and critic specializing in contemporary art, curator at the Musuem of Royal Arts, Brussels) Eric Rinckhout (Art, architecture, and literature writer for De Morgen; author of three books on Willem ElsschArt historian and critic specializing in contemporary art, curator at the Musuem of Royal Arts, Brussels) Eric Rinckhout (Art, architecture, and literature writer for De Morgen; author of three books on Willem Elsschart, curator at the Musuem of Royal Arts, Brussels) Eric Rinckhout (Art, architecture, and literature writer for De Morgen; author of three books on Willem Elsschart, curator at the Musuem of Royal Arts, Brussels) Eric Rinckhout (Art, architecture, and literature writer for De Morgen; author of three books on Willem ElsschArt, architecture, and literature writer for De Morgen; author of three books on Willem ElsschArt, architecture, and literature writer for De Morgen; author of three books on Willem Elsschot)
Professor Rosenblum does himself less than justice: he is neither the simple mainline neoconservative that he pretends or the swinging elder statesman evoked by his repeated claims of solidarity with «art historians... of a younger generation» and «anyone under forty,» but an original and sometimes brilliantly eccentric critic, distinguished among other things for his persuasive work on the late eighteenth and early nineteenth centuries as well as for his astonishingly early and penetratingly intelligent recognition of Jasper Johns, Roy Lichtenstein, and Frank Stella.
Rather than act as the final judge of an artistic practice (as earlier art historians had done), Sandberg preferred to test, directly within the spaces of the museum and through the reactions of its public, the capacity of the work of art to connect with people and its political agency.
But, thanks to the advice of Duchamp, Samuel Beckett, Alfred H. Barr Jr. (the Museum of Modern Art's first director), and the art historian Sir Herbert Read, she gave «first showings to more serious new artists than anyone else in the country,» wrote the critic Clement GreenbeArt's first director), and the art historian Sir Herbert Read, she gave «first showings to more serious new artists than anyone else in the country,» wrote the critic Clement Greenbeart historian Sir Herbert Read, she gave «first showings to more serious new artists than anyone else in the country,» wrote the critic Clement Greenberg.
I think the art historians have to be careful because written history is much more real than the actual history.
In 1976, he began an extraordinary creative partnership with the art historian and curator Coosje van Bruggen (1942 — 2009) that continued for more than thirty years.
More than any artist of his time, Majerus exemplifies what art historian Daniel Birnbaum calls «painting in the expanded field,» his prolific oeuvre reflecting the prepackaged newness and hybrid spaces of the Information Age.
Mazzoleni presents MORE THAN WORDS... — a group show curated by Daniela Ferrari, art historian and curator at the Museum of Modern and Contemporary Art of Trento and Rovereto (MART), Itaart historian and curator at the Museum of Modern and Contemporary Art of Trento and Rovereto (MART), ItaArt of Trento and Rovereto (MART), Italy.
In the 1990's, art historian Robert Hughes, an Australian settled in the States, concludes that Amish quilts are no less than «America's first major abstract art.»
The twenty - plus bodies of work spanning more than forty years featured in this show will provide an unrivaled opportunity to consider Welling's vision of the aesthetic and expressive possibilities of photography, as well as its multimedia entanglements — subjects the artist discusses in a lively conversation with art historian Hal Foster published in the accompanying catalogue.
Alongside more than 100 color reproductions, Jorn & Pollock: Revolutionary Roads includes the essays «Image Revolutions - Abstract Expressionism and What Looks Like It in Jorn and Pollock» by Anders Kold; «In the Shadow of Picasso: Asger Jorn and Jackson Pollock» by British art historian Jeremy Lewison; «Sounds in the Grass» by Axel Heil; and «Simpler Evolutions» by Courtney Martin, which discusses the British critic Lawrence Alloway's comparisons of the two artists.