Sentences with phrase «typescripts of»

«I had an occasion to read the typescript of a book [Ram Swarup] had finished writing in 1973.

Henry James (1843 — 1916), What Maisie Knew, [1897], typescript of two chapters, with autograph corrections.

Through literature, personal correspondence and official reports - from a 1940s suppressed report detailing labour protests and rebellions across the Caribbean to E.R. Braithwaite's annotated typescript of To Sir, With Love - this free Entrance Hall Gallery exhibition will explore the significance of the arrival of the Windrush within a broader narrative of Caribbean history.

I unearthed the typescript of an interview I did with Ad on October 15, 1958.

Documentation includes a very small file of correspondence; information on insurance; budgets; checklists; installation notes and diagrams; conservation information; the brochure produced for the show, and material relating to it, including a typescript of the introductory text; press releases and publicity materials; and material relating to the opening and other events associated with the show.

Not exact matches

As a scholar, Polk had gained access to Faulkner's carbon typescripts for the major works; these were, effectively, keystroke logs of the author's original manuscripts, and Polk compared these with the published texts to return the prose to Faulkner's original intentions (these are the «corrected text editions» published by Vintage).

In conclusion, I am grateful to Professor D. D. Williams of Union Theological Seminary, New York City, and Professor D. W. Sherburne of Vanderbilt University, Nashville, Tennessee, for reading the typescript and making many valuable suggestions; and above all to Professor Charles Hartshorne, who has not read the typescript but who, during a recent short visit to England, discussed with me many of the ideas which are found in this book.

I also know of a don at the University of Oxford who incurred the wrath of his colleagues because he allowed a candidate to make — there and then at the viva — a handwritten correction to an obvious slip in the typescript submitted.

After reading this book, you are going to be able to: — Understand the latest features of ES6 JavaScript and TypeScript.

Of particular note are three typescript editions of Olive Theisen's The Murals of John Thomas Biggers: American Muralist, African - American Artist, an extensive collection and analysis of Biggers» muralOf particular note are three typescript editions of Olive Theisen's The Murals of John Thomas Biggers: American Muralist, African - American Artist, an extensive collection and analysis of Biggers» muralof Olive Theisen's The Murals of John Thomas Biggers: American Muralist, African - American Artist, an extensive collection and analysis of Biggers» muralof John Thomas Biggers: American Muralist, African - American Artist, an extensive collection and analysis of Biggers» muralof Biggers» murals.

Also included in writings is a typescript for Tales of Aunt Dicy, an annotated collection of Biggers» drawings of folk tales, as well as other shorter essays on Biggers, including «John Biggers: American Muralist.»

What follows is written on the basis of typescripts kindly lent to me by Frank Stella and can not therefore give an account either of the lectures as performances or of the way in which the ever - crowded audience responded to them.

The writings by Biggers consist of notes and typescript corrections of two of Biggers» books, Ananse: The Web of Life in Africa (1979) and Black Art in Houston: The Texas Southern University Experience (1978).

There are also manuscripts of collected poetry, short stories, student essays, lectures, and an unidentified typescript on the Texas State University Arts Center.

Writings identified by the first line of the «typescripts,» as they are called include revelatory pieces such as «When I start to paint...,» dated April 1, 1950 and «In this moment...,» dated Nov. 25, 1950.

Thankfully, the typescript is reproduced in a catalogue, «Through the Object's Eye,» about the representation of women in art.

Only when you draw near to any of these paintings do you see the text and numerals — most written in an illegible, spidery hand, a few in typescript — that are these paintings» base note.

2000 The Work Shown in this Space is a Response to the Existing Conditions and / or Work Previously Shown Within the Space III, Neuger Riemschneider, Berlin, DE Sequences, Galerie Roger Pailhas, Marseille, FR La Frontière, Recit d'Expériences, one of several exhibitions collectively entitled «Réseau Galleries / Multilangages de l'Art», Institut d'Art Contemporain - FRAC Rhône - Alps, Villeurbanne / Collège de Prévessin - Moëns (Ain), Academie de Lyon, FR TransAct - Platform for Transitional Activities in the Cultural Field, «Museum in Pro-gress» in cooperation with «Art Pool», Vienna, AT Shoot: Moving Pictures by Artists, Malmö Konsthall / The Cinema Spegeln / Restaurant Hipp, Malmö, SW; Living Art Museum, IS, as part of Kyikar Myndir show, Reykjavik, IS Never Exhibited: Works from the Marieluise Hessel Collection, Center for Curatorial Studies, Bard College, Annandale, New York, US Copyright / Copywrong, Ecole Régionale des Beaux - Arts de Nantes, Nantes, FR Thirtieth Anniversary Benefit Silent Auction, White Columns, New York, US Two by Two for Aids and Art, Dallas Museum of Art, Dallas, Texas, US Dust and Dirt, De Witte Zaal in cooperation with SMAK, Ghent, BE L'Elemento Verbale Nell» Arte Contemporanea, Galleria Martano, Torino, IT; Galleria Martano, Milan, IT Sentimental, Galerie Yvon Lambert, Paris, FR Die Natur der Dinge, NRW - Forum Kultur und Wirtschaft, Düsseldorf, DE Pure, one of several simultaneous exhibitions around UK, collectively entitled On the FRAC Track: A Selection of International Art from the Collection of Fonds Régional d'Art Contemporain (FRAC), Nord - Pas de Calais, Maidstone Library Gallery, Maidstone, UK Under the Apple Tree, Galleria Massimo de Carlo, Milan, IT A Tribute to Robert Hopper, Yorkshire Sculpture Park, West Yorkshire, UK From Here to There - Passageways at Solitude, Akademie Schloss Solitude, Stuttgart, DE Topologies, White Box, New York, US Multiple Configurations: Displaying the Contemporary Portfolio, Busch - Reisinger Museum, Harvard University, Cambridge, Massachusetts, US Heimatweh — Fernlust, Galerie Herbert Winter, Vienna, AT In the Mirror of Space and Time, Listasafns ASÍ, Reykjavik, IS Árátta, Listasafn Kópavogur, Reykjavik, IS Recent Works on Paper, Leo Castelli Gallery, New York, US Présumés Innocents: l'Art Contemporain et l'Enfance, Musée d'Art Contemporain, Bordeaux, FR l'Oeuvre Collective, les Abattoirs, Toulouse, FR Arteast 2000 + The Art of Eastern Europe in Dialogue with the West, from the 1960s to the Present, Moderna Galerija Ljubljana, SL Works by Peter Friedl, Thomas Hirschhorn, Lawrence Weiner, Arndt & Partner [Gallery], Berlin, DE (E Così Via)(And So On): 99 Artisti Della Collezione Marzona, Galleria Comunale d'Arte Moderna e Contemporanea, Rome, IT Collection Lambert en Avignon: Rendez - vous # 1, Rendez - vous # 2, January 12 - December 31, Hôtel de Caumont, Avignon, FR Wallpapers, Art Gallery of Nova Scotia & Nova Scotia College of Art and Design, Halifax, CA Orbis Terrarum: Ways of Worldmaking, Museum Plantin - Moretus, Antwerp, BE Drawings 2000, Barbara Gladstone Gallery, New York, US Von Edgar Degas bis Gerhard Richter / Arbeiten auf Papir aus der Graphischen Sammlung..., Kunstmusem Winterthur, Winterthur, US; Nationalgalerie Prag, CZ; Rupertinum, Salzburg, AT; Westfälischer Landesmuseum, Münste, DE; Neues Museum, Nürnberg, DE Proposals from Halifax: An Exhibition of Selected Typescripts, Flyers, Posters, Catalogues, Books, Mailers and Postcards of a Conceptual Nature Produced From 1969 to 1999 by Affiliates of the Nova Scotia College of Art and Design (NSCAD), Library and Archives - National Gallery of Canada, Ottawa, CA Stanze, Museums für Moderne Kunst / Museo d'Arte Moderna, Bozen / Bolzano, IT Tempus Fugit - Time Flies, Nelson - Atkins Museum of Art, Kansas City, Kansas, US In Process: Photographs from the 60s and 70s, Curt Marcus Gallery, New York, US Many Colored Objects Placed Side by Side to Form a Row of Many Colored Objects: Anton & Annick Herbert Collection, Casino Luxembourg - Forum d'Art Contemporain, LUBeyond Preconceptions: The Sixties Experiment, Independent Curators Inc., New York, US; traveling exhibition Hard - Pressed: 600 Years of Print and Process, International Print Center, New York, US Changing Perceptions: The Panza Collection, Guggenheim Museum, Bilbao, ES Talking Heads: Arti e Letterature nell» era della Globalizzione, Commune di Padova - Settore Attività Culturali, Padua, IT Festival de les Arts, Fundació Pro-Penedès, Barcelona, ES Editions and Multiples 1990 - 2000, Helga Maria Klosterfelde, Hamburg, DE Collection Lambert, Fundacio ProPenedès, Barcelona, ES

Part of a typescript for an essay entitled: «Recollection of Kurt Schwitters» by Ithell Colquhoun.

Typescript, c. 1937, Holger Cahill papers, 1910 — 1993, Series 4.5: Typescripts For Art For The Millions, Archives of American Art, Smithsonian Institution, Washington, DC.

In 2003, The Huntington acquired Charis Wilson's typescript diary recounting every aspect of the journey, which is on view in The Huntington's Library Main Exhibition Hall, as well as documentation detailing the contentious creative wrangling between Weston and the Limited Editions publishers, both of which significantly informed the research for this exhibition.

7 Charles Olson, «Innocence, and knowledge», unpublished typescript, October 1955, Charles Olson Research Collection, Archives & Special Collections at the Thomas J. Dodd Research Center, University of Connecticut, Storrs.

Stuart Davis, «Recollections of the Whitney» (transcript of an interview by John I. H. Bauer and Herman More, for broadcast on WNYC, American Art Festival), Sept. 29, 1953, unpublished typescript, artists» files archives of the Whitney Museum of American Art, New York.

Stock book record Contains records of bronzes hand - written by Barry Flanagan and his assistants and typescript records produced by Waddington Galleries, London, UK.

This text was available only in a typescript catalogue (pp. 14 — 15), as Stephenson's work, with that of two other artists, was added for the London showing, and does not appear in the original printed catalogue of the touring exhibition.

Kulp et al. (1951), p. 116; Kulp (1953); Craig (1954), pp. 138 - 39; «fossil water» (from glacial age lingering until ca. 1000 years ago followed by rapid «renewal»): Worthington (1954); «nobody knows:» Roger Revelle, «The oceans and the Earth,» talk at American Association for the Advancement of Sciences symposium, Dec. 27, 1955, typescript, folder 66, Box 28, Revelle Papers MC6, SIO.

Nothing gives away the incompetent amateur more quickly than the typescript that neglects this mark of punctuation or that employs it where it is not wanted... [The hyphens in phrasal adjectives] warn the reader that he must fuse two ideas before he can perceive how they apply to the subject.

Some of the most pivotal are the transfer from manuscript to type, and subsequently between typescript editions (especially when the new edition is a fully re-set version of the text, or these days when it moves to a digital form).

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