Sentences with phrase «time for black artists»

It was a tough time for black artists.

Not exact matches

That would be a red flag to anyone with a sense of sanity) 5) Being a convicted con — it makes sane sense that this convicted con - artist also had a thing for young girls and multiple wives (how convienient if one is in a monthly cycle, chances are he could get the boo - ty from another — and keeping them below legal age is an added treat for a pedophile - oriented putz) 6) I'm still stuck on the multiple boo - ty thing... was a great thing in my younger days but I grew into self - reponsibility to my mate and offspring 7) I'm still stuck on the Black thing in Mormonisim — banned until recent time.

Hair Stylist Mabel Ng and Makeup Artist Phoebe Lui set upon me at the same time, armed with BELLESA «s own hair styling electronics — slick black and purple hair straighteners, hair dryers — anything that would tame my locks into the Hayden Panettiere hairstyle pic I came equipped with for style inspiration.

6» 1 black hair brown eyed tattooed unknown local artist seeking a sugarmomma to pay for studio time will be your temp boytoy or casual playmate.

With the anticipation for Marvel's latest superhero movie Black Panther at an all time high, the soundtrack for the film looks set to be lit after Kendrick Lamar is announced as a curator and artist of the first single.

As actor James Franco took the stage wearing all black and a Time's Up pin to accept his award for best lead actor in a comedy for The Disaster Artist, actress Ally Sheedy, watching from home, weighed in.

British film director Steve McQueen's 2008 debut film, Hunger, is notable for many reasons: It is a great film, a great debut film, uses an innovative narrative structure, uses interesting cinematography in concert with its soundtrack, makes the best use of ambient sound to have the best non-musical soundtrack I've heard in a long time (if not ever), is the work of a black artist that is not obsessed with black only topics, and shows a maturity and grace that goes beyond even the first films of directors like David Gordon Green, in George Washington, and Terrence Malick, in Badlands.

Whether or not you catch every reference or understand every choice in the video, however, it has a greater symbolic meaning than even the messages it's packed into that short running time: black artists are gaining - creating for themselves - increasing freedom to explore and articulate controversial (read: threatening to white America) themes in their work.

She is a part - time cheesehead, tending a small organic orchard and vineyard near Black Earth, WI, where she also runs the Black Earth Institute, a think - tank for artists who connect spirituality, the environment, and social justice in their work.

Alice Walker wrote the book In Search of Our Mother's Garden (1972), in which she asked, «What did it mean for a black woman to be an artist in our grandmothers» time?

To say that it was difficult for black artists to find gallery representation at that time would be... Read More

The Black Artists Retreat is «guided by the tenets of fellowship, rejuvenation, and intellectual rigor and strives to create time and space for an intergenerational community of black visual artists to engage outside of the institutional environment.&rBlack Artists Retreat is «guided by the tenets of fellowship, rejuvenation, and intellectual rigor and strives to create time and space for an intergenerational community of black visual artists to engage outside of the institutional environment.Artists Retreat is «guided by the tenets of fellowship, rejuvenation, and intellectual rigor and strives to create time and space for an intergenerational community of black visual artists to engage outside of the institutional environment.&rblack visual artists to engage outside of the institutional environment.artists to engage outside of the institutional environment.»

Abstraction, New Observations, June 1984, No. 24 1984 Is Abstract Painting Regaining its Popularity by Victoria Donohoe, Philadelphia Inquirer, September 14, 1984 1983 Ted Stamm by Sanford Kwinter, Art In America, January 1983, pp. 121-122 1983 Ted Stamm by Stephen Westfall, Arts Magazine, January 1983, p. 3 1983 Ted Stamm at the Far Turn by William Zimmer, Re-Dact 1 by Peter Frank, Published by Willis Locker and Owens, ISBN 093027900X 1982 Ted Stamm, Art Economist, Volume II, No. 14, December 31, 1982, p. 5 1982 Drawing Invitational 1981 by Geynne Vernet, Arts Magazine, February 1982 1982 Two Unprovincial Shows at the Jersey City Museum by Vivien Raynor, The New York Times, New Jersey supplement, October 10, 1982, p. 28 1981 Ted Stamm by Valentine Tatransky, Arts Magazine, February 1981, pp. 35 - 36 1981 Surely Temple Black by William Zimmer, SoHo Weekly News, February 18, 1981, p. 49 1981 Abstraction with a Relaxed Air by David L. Shirey, The New York Times, March 1, 1981, p. 19 1981 Ted Stamm by Tiffany Bell, Arts Magazine, May 1981, p. 8 1981 From the General to the Particular: Some Thoughts on Abstract Painting by Tiffany Bell, Arts Magazine, June 1981, pp. 120-124 1980 Tre Amerikaner i Skaane by by Sune Nordgren, Dagens Nyheter (Stockholm), May 5, 1980 1980 Pool Documentation by Kay Larson, Village Voice, June 2, 1980, p. 85 1980 Jane Highstein and Sensibility Minimalism: A Tissue of Happenstance by Robert Pincus - Witten, Arts Magazine, October 1980 p. 140 1980 La Nouvelle Vogue New Yorkaise est Portee Para La Musie Rock by Daniel Cornu, Tribune De Geneve, December 1980 School's Out by William Zimmer, The SoHo Weekly News, June 11, 1980, p. 61 1980 Old Wine, New Bottles, Bad Year by John Perreault, The SoHo Weekly News, June 18, 1980 1979 Ted Stamm by December Kur, Handelsblatt (Dusseldorf), March 3,1979, p. 21 1979 Entries: Styles of Artists and Critics by Robert Pincus - Witten, Arts Magazine, November 1979, pp. 127 - 28 1979 Where is New York by Peter Frank, ARTnews, November 1979, pp. 59 - 65 1978 Ted Stamm by Tiffany Bell, Arts Magazine, February 1978, pp. 33 - 34 1978 Ted Stamm by Edit De Ak, Artforum, February 1978, pp. 63 - 64 1978 Artful Dodger by Gerald Marzorati, SoHo Weekly News, May 18, 1978, 10 1978 Pittori di New York by Riccardo Guarneri, Visual, April - May 1978, No. 2 - 3, pp. 40 - 43 1978 Ted Stamm at Hal Bromm Gallery by Peter Frank, Village Voice, December 19, 1977, pp. 93, 98 1977 Arts and Leisure Guide by Ann Barry, New York Times, November 27, 1977 1977 Voice Choices by Ali Anderson, Village Voice, December 12, 1977, p. 59 1977 New Museum at the New School by Peter Frank, Village Voice, December 19, 1977, p. 98 1976 Ted Stamm by Barbara Catoir, Das Kunstwerk, January 1976, p. 64 1976 Alternative Arts Spaces: One to one politics for the avant - garde by Stephen Reichard, New York Downtown Manhattan, Akademie Der Kunste - Berliner Festwochen, September 1976, p. 249 1975 Reviews by Susan Heineman, Artforum, March 1975, pp. 62 - 63 1975 Artists Space by Trudie Grace, Art Journal, Summer 1975, XXXIV / 4, pp. 323 - 326.

In 2006, her Untitled (Diagonal Curve)(1966), a black - and - white canvas of dizzying curves, was bought by Jeffrey Deitch at Sotheby's for $ 2.1 million, nearly three times its $ 730,000 high estimate and also a record for the artist.

Timed to celebrate Black History Month, Grenning Gallery has assembled a group show of contemporary African - American artists working in the realist mode for an exhibition that is long on the traditional portraiture for which the gallery is renowned.

Others are emerging American artists with whom Atlas will be collaborating for the first time, such as choreographers Laurie Berg, the Illustrious Blacks (May 3 — 5 only), Imma Asher (May 10 — 12 only) and Solo Termite, with more to be announced!

Selected Group Exhibitions 2017 Ted Stamm / Gerrit Rietveld, OV Project, Brussels, Belgium 2017 Painting on the Edge: A Historical Survey, Stephen Friedman Gallery, London 2012 Times Square Show Revisited, Hunter College Art Galleries, New York, NY 2010 Black & White, Galleri Weinberger, Copenghagen, Denmark 1987 Recent Acquisitions, Guggenheim Museum, Brooklyn, NY 1987 Recent Acquisitions, Brooklyn Museum, New York, NY 1985 Art Heritage at Hofstra, Emily Lowe Gallery, Hofstra University, Hempstead, NY 1985 Constructures: New Perimetries in Abstract Painting, Nohra Haime Gallery, New York, NY 1984 Fourth Annual Anniversary Show, John Davis Gallery, Akron, OH 1984 Fifteen Abstract New York Painters, Susan Montezinos Gallery, Philadeiphia, PA 1984 Small Works, Muhlenberg College, Allentown, PA 1984 Mail Art, Franklin Furnace, New York, NY 1984 Artists Call, Judson Memorial Church, New York, NY 1984 Process Black, LIU South Hampton, New York, NY 1984 A Decade of Art, Artists Space 105 Hudson, New York, NY 1984 Offset: A Survey of Artists Books, New England Foundation for the Arts, Wakefield, RI 1983 David Reed, Sean Scully, Ted Stamm; Zenith Gallery, Pittsburgh, PA 1983 Donald Alberti, Russell Maltz, Olivier Mosset, Ted Stamm; 1708 East Main Street, Richmond, VA 1983 Abstraction Two Views: Davis and Stamm, The Contemporary Arts Center, Cincinnati, OH 1983 Second Anniversary Exhibition, Harm Bouckaert Gallery, New York, NY 1983 Hundreds of Drawings, Artists Space, New York, NY 1983 A More Store, Jack Tilton Gallery, New York, NY 1983 Donald Alberti, Russell Maltz, Olivier Mosset, Ted Stamm; Condeso / Lawler Gallery, New York, NY 1983 Artists for Nuclear Disarmament, Colburn Gallery, Burlington, VT 1982 A Look Back: A Look Forward, Aldrich Museum, Ridgefield, CT 1982 Pair Group, Art Galaxy, New York, NY; travelled to Jersey City Art Museum, Jersey City, NJ 1982 Destroyed Prints, Pratt Manhattan Center, New York, NY 1982 Annual Holiday Invitational, A.I.A. Gallery, New York, NY 1982 Group Exhibition, Roy Boyd Gallery Chicago, Merwin Gallery, Illinois Wesleyan University, Bloomington, IL 1982 Pair Group II, Jersey City Museum, Jersey City, NJ 1982 Black and White, Freeport Mc Mo Ran, New York, NY 1982 Faculty Exhibition, Hillwood Commons Gallery, C.W. Post, Greenvale, NY 1981 Drawings, Roy Boyd Gallery, Chicago, IL 1981 Abstract Painting: New York, Hofstra University, Hempstead, NY 1981 Arabia Felix, Art Galaxy, New York, NY 1981 Words and Images: Contemporary Artist's Books, Southern Alleghenies Museum of Art, Loreto, PA 1981 Love: Hate: Fear and Suicide, University of Brussels, Brussels, Belgium 1981 New Directions, Commodities Corp..

Recently he wrote «We Are More Than This,» an essay for the Tate Modern on the occasion of the museum's exhibition, «Soul of a Nation: Art in the Age of Black Power» and is in conversation with filmmaker and artist Arthur Jafa in the Dallas Museum of Art's «Truth: 24 frames per second» exhibition catalogue.His writing has appeared in the New Yorker and The New York Times.

Magnetic Fields: Expanding American Abstraction, 1960s to Today places abstract works by multiple generations of black women artists in context with one another — and within the larger history of abstract art — for the first time, revealing the artists» role as under - recognized leaders in abstraction.

On view are many never before exhibited works, including watershed pieces from the AfriCOBRA period, as well as works reflective of the epiphany Williams had when first visiting Africa for Festac» 77, the Second World Black and African Festival of Arts and Culture, plus multi-media pieces created throughout the 1980s, 90s and early 2000s during the artist's time in Asia and Europe, along with select contemporary works.

Her work has been included in group exhibitions such as «SoundSpill,» Zabludowicz Collection, New York (2013), «With the Tip of a Hat,» the Artist's Institute, New York (2012), «Novel,» a screening for Time Again hosted by the Sculpture Center, New York (2011), «Outrageous Fortune: artists remake the Tarot,» Hayward Touring / Focal Point Gallery, Southend (2011), and «The Great White Way Goes Black,» Vilma Gold, London (2011).

GJ There weren't many gallery openings for black artists at that time either.

As an independent curator, some of DuBois» curatorial projects include: Black Abstraction at Harmony Hall Regional Art Gallery in Fort Washington, MD for the group Black Artists of DC (2011); A / Way Home at the District of Columbia Arts Center (2012 - 13); Of a Place and Time: Photographic Memories and Imaginings at the Hillyer Art Space (2013); (in) Visible and (dis) Embodied: Repositioning the Marginalized as part of the Curatorial Initiative program at the District of Columbia Arts Center (2014).

Jeff Wall: Exposure presents, for the first time, four new, large - scale, black - and - white photographs by the Canadian artist Jeff Wall: Cold storage, Vancouver; Men waiting; War game; and Tenants.

This exhibition brings together the artist's iconic black and white self - portraits, a group of colour photographs that have not been publicly exhibited since 1983, rare sepia landscapes and, in collaboration with the artist's estate, introduces a group of his photographs in a large - scale format for the first time.

In Un Coup de Dent, renowned artist and activist Nancy Spero will present a body of early, expressionistic works referred to as the Black Paintings and a group of related drawings, created between 1954 and 1965 and exhibited comprehensively in the United States for the first time since 1985.

«Neo-Integrity: Comics Edition,» Time Out New York, August 10 Le Hay, Benjamin - Emile, «Artists Nate Lowman and Keith Mayerson Take a Long, Hard Look at Humanity,» Black Book Art Review, August 17 Phillips, Brad, «Keith Mayerson,» (interview), Hunter and Cook 06, Summer Saltz, Jerry, «Remembrances of Louise Bourgois's Salons,» New York Magazine.com, June 3 «Neo-Integrity at MoCCA,» Publisher's Weekly The Beat, March 31 Sokol, Brett, «36 Hours in Cleveland,» The New York Times, September 20 «Bang for your Buck,» Art + Auction, July - August

«For a long time, the art world wanted black artists to do black subject matter,» she said.

Mangold's woodcuts premiering for the first time are also presented in conversation with works such as Movement in White, Umber, and Cobalt Green (1950) by early American modernist John Marin (1870 — 1953), known for his abstract landscapes, and with Duet and Murmur (2014), New York — based contemporary artist Cheonae Kim's (1952 ---RRB- paintings from her linear black - and - white series.

For the first time, Black Paintings gathers all of the best of the title artist's black works together: textured black, striped black, blue - black, brown - black, black - bBlack Paintings gathers all of the best of the title artist's black works together: textured black, striped black, blue - black, brown - black, black - bblack works together: textured black, striped black, blue - black, brown - black, black - bblack, striped black, blue - black, brown - black, black - bblack, blue - black, brown - black, black - bblack, brown - black, black - bblack, black - bblack - blackblack.

Soon artist and writer Errol Lloyd was exclaiming, «For the first time in Britain black women artists are exhibiting together», thanks to exhibitions curated by Zanzibar - born Lubaina Himid.

A 1966 painting by Bridget Riley, «Untitled (Diagonal Curve,)» a classic black - and - white canvas of dizzying curves, was bought by Jeffrey Deitch, a Manhattan dealer, for $ 2.1 million, nearly three times its $ 730,000 high estimate and also a record for the artist.

(1913 Buffalo, New York, USA - 1967 New York, New York, USA) was an Abstract Expressionist artist notable for painting nearly «pure» monochromes over a considerable span of time (roughly from 1952 to his death in 1967), in red or blue, and lastly and most (in) famously, in black.

In the early 1980s three exhibitions in London curated by Lubaina Himid — Five Black Women at the Africa Centre (1983), Black Women Time Now at Battersea Arts Centre (1983 - 4) and The Thin Black Line at the Institute for Contemporary Arts (1985)-- marked the arrival on the British art scene of a radical generation of young Black and Asian women artists.

In the»80s, she emerged as conceptual artist in the feminist art movement of the time, and since then her artwork — typically black - and - white photographic images, some as large as a billboard, with stripes of provocatively worded type on top of them — has become highly prized, one piece selling for nearly $ 1 million at a recent auction.

You don't often see all the artists listed together especially the line up for Black Woman Time Now, its not in Passion: Discourses on Black Womens Creativity (1990) and its not in The Companion to Contemporary Black British Culture (2002) even though the exhibition is mentioned, or Shades of Black (2005), or the catalogue for Transforming the Crown (2007).

From designing album covers for rock bands such as Sonic Youth and Black Flag to collaborating with fellow artists such Marcel Dzama, Pettibon's career followed an expansive trajectory that has transformed with the times.

Goodman's legacy was unique: it was founded by a woman in 1966 — a time when very few women were owning and running businesses — and had provided a platform for black artists to exhibit their work despite apartheid laws against this.

For many African American artists, defining a black aesthetic has meant a long and painful attempt to find a place within a dominant white culture, a culture whose ideology and assumptions appear to be so pervasive as to seem invisible at times.

On view for the first time will be the large - scale Black Painting; Horse, Bird, Cat (2016), from which the exhibition takes its title, as well as a group of works on paper that together underscore the artist's distinctive working process and intuitive approach to image - making.

Zaatari's two - part contribution to dOCUMENTA (13) similarly challenges the expectations audiences may bring by casting his latest works on archives not in the context of politics, history and memory but rather as a love story for two men played by three actors, in the black and white, 16 mm silent film The End of Time (2012), and as a mentor — apprentice drama in Time Capsule (2012), an extended performance for which the artist buried a concrete - encased collection of small monochromatic paintings — a tribute to an unnamed photographer said to be losing his sight — in a hole in the ground that was dug next to the Fulda River in the Karlsaue Park, with four spokes of rebar marking the spot.

The Whitney will exhibit California light and space artist Robert Irwin's Scrim veil — Black rectangle — Natural light for the first time since 1977.

In 1983, «No. 9 (White and Black on Wine)» sold for $ 1,800,000, setting an auction record for the artist at the time.

He is a three - time recipient of the National Endowment for the Arts» individual artist fellowship and was awarded the Black Filmmakers Hall of Fame first place award in the experimental video category in 1990 and 1992.

It was in 1975 that the young artist Julian Schnabel, visiting a friend's studio in Galveston, met Glasco for the first time: «from Joe's studio you couldn't see outside because the floor - to - ceiling red velvet curtains were only partially open -LSB-...] Joe was in his kitchen, sitting in the dark in a Metropolitan Opera Egyptian - style black velvet chair.

These works reintroduced gesture with aspects of sculpture and collage at a time when narrativebased and didactic work was de rigeur for Black artists.

While Whitten has been exhibiting at home and abroad throughout his career, there has been a recent resurgence of interest in his work, which has been included in major group shows such as Energy / Experimentation: Black Artists and Abstraction 1964 — 1980 at The Studio Museum in Harlem (2006); High Times Hard Times: New York Painting 1967 — 1975, organized by Independent Curators International (2006); and Blues for Smoke organized by the Museum of Contemporary Art, Los Angeles, California in 2012.

David Walsh, Elizabeth Pearce, Jane Clark 2013 ISBN 9780980805888 Lindsay Seers, George Barber, Frieze, January 2013 One of Many, Adrian Dannatt, Artist Comes First, Jean - Marc Bustamante (ed), Toulouse International Art Festival (exhibition catalogue), June 2013 All the World's a Camera: Notes on non-human photography, Joanna Zylinska, Drone ISBN 978 -2-9808020-5-8 (pg 168 - 172) 2013 Lindsay Seers, Artangel at the Tin Tabernacle - Jo Applin, ArtForum, December 2012 Lindsay Seers, Martin Herbert, Art Monthly, October 2012 Exhibition, Ben Luke, Evening Standard, (pg 60 - 61) 20 September 2012 Lindsay Seers @ The Tin Tabernacle, Sophie Risner, Whitehot Magazine, September 2012 Artist Profile: Lindsay Seers, Beverly Knowles, this is tomorrow, 12 September 2012 Dream Voyage on a Ghost Ship, Richard Cork, Financial Times, (pg 15) 11 September 2012 Nowhere Less Now, Amy Dawson, Metro (pg 56) 7 September 2012 Voyage of Discovery, Helen Sumpter, Time Out, (pg 42) 6 - 12 September 2012 Nowhere Less Now, Rachel Cooke, The Observer, (pg 33) 2 September 2012 Divine Interventions, Georgia Dehn, Telegraph Magazine, 25 August 2012 Eine Buhne fur das Ich, Annette Hoffmann, Der Sonntag, 25 March 2012 Das Identitätsvakuum - Dietrich Roeschmann, Badische Zeitung, 27 March 2012 Ich ist ein anderer - Kunstverein Freiburg - Badische Zeitung, 21 March 2012 Action Painting - Jacob Lundström, FLM NR.16, March 2012 Dröm - fabriken - Peter Cornell, Kultur, 21 February 2012 Vita duken lockar Konstnärer - Fredrik Söderling, Dagens Nyheter (pg 4 - 5) 15 February 2012 Personligen Präglad - Clemens Poellinger, SvD söndag, (pg 4 - 5) 12 February 2012 Uppshippna hyllningar till - Helena Lindblad, Dagens Nyheter (pg 8 - 9) 9 February 2012 Bonniers Konsthall - Sara Schedin, Scan Magazine, (pg 48 - 9) Febuary 2012 Ausstellungen - Monopol, (pg 120) February 2012 Modeprovokatörer plockas up par museerna - Susanna Strömquist, Dagens Nyheter (pg 8 - 9) January 2012 Promosing in Kabelvåg - Seers» «Cyclops [Monocular] at LIAF, Kjetil Røed, Aftenposten, 10 September 2011 Reconstructing the Past - Lindsay Seers» Photographic Narrative, Lee Halpin, Novel ², May / June 2011 Lindsay Seers, Oliver Basciano, Art Review, May 2011 Lindsay Seers, Jen Hutton, ArtForum Picks (online), April 2011 Lindsay Seers: an impossibly oddball autobiography, Murray Whyte, The Toronto Star, 13 April 2011 The Projectionist, David Balzer, Eye Weekly, 6 April 2011 dis - covery, exhibition catalogue, 2011 Lindsay Seers: It has to be this way ², Paul Usherwood, Art Monthly, April 2011 Lindsay Seers: Gateshead, Robert Clark, Guardian: The Guide, February 2011 It has to be this way ², 2011, novella published by Matt's Gallery, London Neo-Narration: stories of art, Mike Brennan, modernedition.com, 2010 Steps into the Arcane, ISBN 978 -3-869841-105-2, published 2010 It has to be this way1.5, novella 2010, published by Matt's Gallery, London Jarman Award, Laura McLean - Ferris, The Guardian, September 2009 Top Ten, ArtForum, Summer 2009 Reel to Real - On the material pleasure of film, Colin Perry, Art Monthly, July / August 2009 Remember Me, Tom Morton, Frieze, June / July / August 2009 It has to be this way, 2009, published by Matt's Gallery, London Lindsay Seers at Matt's Gallery, Gilda Williams, ArtForum, May 2009 Lindsay Seers: It has to be this way — Matt's Gallery, Chris Fite - Wassilak, Frieze, April 2009 Lindsay Seers: it has to be this way, Rebecca Geldard, Art Review, April 2009 Review of Altermodern - Tate Triennial 2009, Jorg Heiser, Frieze, April 2009 Tate Triennial: «Altermodern» — Tate Britain Feb 3 — April 26, 2009, Colin Perry, Art Monthly, March 2009 Lindsay Seers: It has to be this way (Matt's Gallery, London), Jennifer Thatcher, Art Monthly, March 2009 No sharks here, but plenty to bite on, Tom Lubbock, The Independent, 6 February 2009 Lindsay Seers: Tate Triennial 2009: Altermodern, Nicolas Bourriaud, Tate Channel, 2009 «Altermodern» review: «The richest and most generous Tate Triennial yet», Adrian Searle, The Guardian, Feb 2009 Critics» Choice for exhibition at Matt's Gallery, Time Out London, January 29 — February 4 2009 In the studio, Time Out London, January 22 — 28 2009 Lindsay Seers Swallowing Black Maria at SMART Project Space Amsterdam, Michael Gibbs, Art Monthly, Oct 2007 Human Camera, June 2007, Monograph book Published by Article Press Lindsay Seers, Gasworks, London, Pil and Galia Kollectiv, Art Papers (USA), February 2006 Review of Wandering Rocks, Time Out London, February 1 — 8, 2006 Aften Posten, Norway, Front cover and pages 6 + 7 for show at UKS Artistic sleight of hand — «Eyes of Others» at the Gallery of Photography, Cristin Leach, Irish Times, 25 Nov 2005 There is Always an Alternative, Catalogue (Dave Beech / Mark Hutchinson) 2005 Wunderkammer, Catalogue, The Collection, October 2005 Lindsay Seers» «We Saw You Coming»;» 20,000 Leagues Under the Sea»; «Apollo 13»; «2001», Lisa Panting, Sphere Catalogue (pg 46 - 50), Presentation House Gallery, 2004 Haunted Media (Site Gallery, Sheffield), Art Monthly, April 2004 Miser and Now, essays in issues 1, 2 + 3 Expressive Recal l - «You said that without moving you lips», Limerick City Gallery of Art, Dougal McKenzie, Source 37, Winter 2003 Braziers International Artists Workshop Catalogue, 2002 Review of Lost Collection of an Invisible Man, Art Monthly, April 2003 Slade - Hannah Collins, Chris Muller, Lindsay Seers, Elisa Sighicelli, Catherine Yass, (A journal on photography, essay by John Hilliard), June 2002 Radical Philosophy, 113, Cover and pages 26/30, June 2002 Elle magazine, June 2002, page 92 - 93 Review, Dave Beech, Art Monthly, June 2002 Nausea: encounters with ugliness, Catalogue Lindsay Seers, Artists Eye, BBC Programme by Rory Logsdail The Fire Station, a film by William Raban and a catalogue by Acme The Double, Catalogue from the Lowry, Lowry Press, July 2000 Contemporary Visual Arts, Roy Exley, June 1999 Hot Shoe, Chris Townsend.

Christie's Nails a $ 127.7 Million London Contemp Sale — The auction house shot past its high estimate, setting records for Peter Doig ($ 11.9 million for a 1991 canvas, past the $ 10 million paid for a canoe painting in 2007 that briefly made him the world's most expensive living artist — and more than 20 times the amount the seller paid in 2002), Allen Jones ($ 3.4 million for a 1969 assemblage piece), and Pierre Soulages ($ 5.1 million for a 1961 black abstraction, which went for more than seven times its high estimate).

As one critic has noted, these spaces were «an experimental expansion of the work and the condition for its accomplishment»... [Ben Nicholson recollected that Mondrian's Paris] studio had a black floor, and white walls on which the ageing artist, 62 at the time of Nicholson's visit, pinned cardboard rectangles of primary colours that he could move around at will.