Sentences with phrase «write about modern art»

In the 1930s and early forties, while working in advertising and the fabric industry, Kootz had found time to write about modern art.

Not exact matches

About two dozen artists, gallery owners and officials wrote an open letter Monday urging the city of Paris not to install the 12 - metre - tall «Bouquet of Tulips» outside the Museum of Modern Art and adjacent Palais de Tokyo, a contemporary art centArt and adjacent Palais de Tokyo, a contemporary art centart centre.

Yenawine is the author of How to Look at Modern Art, Key Art Terms for Beginners, and has written six children's books about aArt, Key Art Terms for Beginners, and has written six children's books about aArt Terms for Beginners, and has written six children's books about artart.

Her work is written about frequently, including features in Modern Painters, the New York Times, Nka Journal of Contemporary African Art, and the forthcoming Spring 2014 issue of BOMB.

If you've ever taken a course about modern and contemporary art history, chances are you know that Minimalist sculptor Donald Judd wrote the lively essay «Specific Objects» in 1965.

He writes about modern and contemporary art with an emphasis on articulations of Blackness in the Western visual field.

Kevin McGarry has written about art for 4 Columns, Art Agenda, Art in America, Artforum, Artforum.com, Artnet, Flash Art, frieze, Kaleidoscope, Modern Weekly China, Mousse, PIN - UP, T: The New York Times Style Magazine, and otheart for 4 Columns, Art Agenda, Art in America, Artforum, Artforum.com, Artnet, Flash Art, frieze, Kaleidoscope, Modern Weekly China, Mousse, PIN - UP, T: The New York Times Style Magazine, and otheArt Agenda, Art in America, Artforum, Artforum.com, Artnet, Flash Art, frieze, Kaleidoscope, Modern Weekly China, Mousse, PIN - UP, T: The New York Times Style Magazine, and otheArt in America, Artforum, Artforum.com, Artnet, Flash Art, frieze, Kaleidoscope, Modern Weekly China, Mousse, PIN - UP, T: The New York Times Style Magazine, and otheArt, frieze, Kaleidoscope, Modern Weekly China, Mousse, PIN - UP, T: The New York Times Style Magazine, and others.

Her work has been reviewed and / or written about in frieze, Artforum, Flash Art, Modern Painters, Hyperallergic and the Los Angeles Times and was included in Painting Abstraction: New Elements in Abstract Painting, by Bob Nickas.

He has written for international art magazines and exhibition catalogues; delivered talks about modern and contemporary art and his work at Artsy globally; worked for prominent galleries; managed major artist estates and foundations; and taught modern and contemporary art at New York University where he received a PhD in Art History and Archaeology from the Institute of Fine Arart magazines and exhibition catalogues; delivered talks about modern and contemporary art and his work at Artsy globally; worked for prominent galleries; managed major artist estates and foundations; and taught modern and contemporary art at New York University where he received a PhD in Art History and Archaeology from the Institute of Fine Arart and his work at Artsy globally; worked for prominent galleries; managed major artist estates and foundations; and taught modern and contemporary art at New York University where he received a PhD in Art History and Archaeology from the Institute of Fine Arart at New York University where he received a PhD in Art History and Archaeology from the Institute of Fine ArArt History and Archaeology from the Institute of Fine Arts.

Israel has written for international art magazines and exhibition catalogues; delivered talks about modern and contemporary art and his work at Artsy globally; worked for prominent galleries; managed major artist estates and foundations; and taught modern and contemporary art at NYU, where he received a PhD in Art History and Archaeology - from NYU's Institute of Fine Arart magazines and exhibition catalogues; delivered talks about modern and contemporary art and his work at Artsy globally; worked for prominent galleries; managed major artist estates and foundations; and taught modern and contemporary art at NYU, where he received a PhD in Art History and Archaeology - from NYU's Institute of Fine Arart and his work at Artsy globally; worked for prominent galleries; managed major artist estates and foundations; and taught modern and contemporary art at NYU, where he received a PhD in Art History and Archaeology - from NYU's Institute of Fine Arart at NYU, where he received a PhD in Art History and Archaeology - from NYU's Institute of Fine ArArt History and Archaeology - from NYU's Institute of Fine Arts.

Temkin has lectured and written extensively about modern and contemporary art.

Yenawine is the author of an introduction to modern art, called How to Look at Modern Art and has written six children's books about art — Stories, Colors, Lines, Shapes, People, and Pmodern art, called How to Look at Modern Art and has written six children's books about art — Stories, Colors, Lines, Shapes, People, and Placart, called How to Look at Modern Art and has written six children's books about art — Stories, Colors, Lines, Shapes, People, and PModern Art and has written six children's books about art — Stories, Colors, Lines, Shapes, People, and PlacArt and has written six children's books about art — Stories, Colors, Lines, Shapes, People, and Placart — Stories, Colors, Lines, Shapes, People, and Places.

One of the more thought - provoking pieces of art writing this month was not about contemporary work, but modern art.

His work has been written about in «The New York Times», «The New Yorker», «Vogue», «Arts», «Art in America», «The New Criterion», and «Modern Painters», among other publications.

On the occasion of Terry Winters's show at Matthew Marks, Phong Bui, publisher of The Brooklyn Rail, and consulting editors David Levi Strauss and Peter Lamborn Wilson (who are both writing essays on Winters's work for a forthcoming book from the Irish Museum of Modern Art in Dublin) met with Winters to talk about his new work.

«Gauguin wrote about being in Tahiti and seeing women bathing,» said David Norman, chairman of Sotheby's Impressionist and Modern art department worldwide.

I freely admit that I gently borrowed the title from French professor Serge Guilbaut, whose book How New York Stole the Idea of Modern Art: Abstract Expressionism, Freedom, and the Cold War, written back in 1983, is still by far one of the most fascinating books about abstract expressionism and its controversial use as propaganda in the Cold War years.

His work appears in the permanent collection of the Museum of Modern Art, New York, and has been written about in publications such as NYAQ, The Guardian, The Wall Street Journal, Vice Magazine, NKA Journal of Contemporary African Art, The BBC, Utflukt, Art South Africa, Protocollum, and Artforum.

About two dozen artists, gallery owners and officials have written an open letter urging the city of Paris not to install the 12 - metre - tall Bouquet of Tulips outside the Museum of Modern Art and adjacent Palais de Tokyo, a contemporary art centArt and adjacent Palais de Tokyo, a contemporary art centart centre.

His curatorial projects have been written about in the New York Times, Modern Painters, Art Forum, Flash Art, The Observer among others.

In 2010, he wrote and presented Modern Masters, a four - part series about modern art that was broadcast on Sunday evenings on BBModern Masters, a four - part series about modern art that was broadcast on Sunday evenings on BBmodern art that was broadcast on Sunday evenings on BBC One.

She has written for specialist and generalist publications (African Arts, NKA: Journal of Contemporary African Art, Prospect, the Financial Times), lectured at museums and galleries (SOAS, Cambridge, Birkbeck, Photographer's Gallery, British Museum, Tate Modern), and is interested in communicating ideas about culture, history, art and the negotiation of identities to a wide audienArt, Prospect, the Financial Times), lectured at museums and galleries (SOAS, Cambridge, Birkbeck, Photographer's Gallery, British Museum, Tate Modern), and is interested in communicating ideas about culture, history, art and the negotiation of identities to a wide audienart and the negotiation of identities to a wide audience.

Kathy Halbreich, director of Walker Art Center, Minneapolis, writes about the range of influences he absorbed: «From his early drawings rooted in a European Surrealist tradition to his monumental abstract canvases, Motherwell's visual language synthesizes a veritable history of modern painting, reflecting ties to Picasso's early collages, Matisse's color - rich paintings, and the development of American Abstract Expressionism in which he played such a pivotal role».

I wrote there adversely about Cubism because it seemed to me that it was the beginning of the academicization of modern art, of thinking that modern art could be made.

MS. TANNENBAUM: Dave Hickey wrote an essay about you pretty recently for the [«Lynda Benglis»] Retrospective in Dublin [Irish Museum of Modern Art], and he talks about how you brought color back into art and how radical that wArt], and he talks about how you brought color back into art and how radical that wart and how radical that was.

To further explore the presence of Asger Jorn in this exhibition, Hilde de Bruijn (Senior Curator, Cobra Museum of Modern Art, Amstelveen) talks about her research on Jorn's work and writing, with particular focus on his relation to folk art and vandaliArt, Amstelveen) talks about her research on Jorn's work and writing, with particular focus on his relation to folk art and vandaliart and vandalism.

In their first year, the Girls created tallied lists of critics who didn't write enough about women artists (including, at the time, Roberta Smith), and the amount of solo exhibitions of women at four major New York museums (one at the Museum of Modern Art, and none at the Guggenheim, Metropolitan or Whitney).

Newspapers and journals such as The New Yorker, Artforum, Art in America, Brooklyn Rail, The New York Times and Modern Painters have written about his artwork.

Throughout the 1930s she wrote about and taught art - the latter in both Dublin and Cork - playing an important role in the history of Irish painting, as an early proponent of abstraction in art and as a champion of the modern movement.

To learn more about pop art and its departures, pick up a copy of the exhibition catalogue, written by Catharina Manchanda, SAM's Jon and Mary Shirley curator of Modern and contemporary art.

His prodigious zine work can be found in several national artist book collections including the Museum of Modern Art; Art Institute of Chicago; Museum of Contemporary Art, Chicago; New Jersey Public Library; National Academy of Design, New York; Indiana University and School of the Art Institute of Chicago His collaborative printmaking work with the comix artist ONSMITH has been written about in Art in Print.

His work has been written about in the Chicago Tribune, art ltd, Modern Painters, New American Paintings and New City.

Artforum's September issue, the ad - heavy Fall Preview edition, features a write up about the exhibition by Thomas J. Lax, who recently left the Studio Museum in Harlem to join the Museum of Modern Art.

In 1923 and 1924 as a student in Munich he wrote about «the lack of understanding of modern art».

In 2013, I wrote about a six year experiment in showing modern art to Dallas audiences, the Dallas Museum of Contemporary Aart to Dallas audiences, the Dallas Museum of Contemporary ArtArt.

Michael Auping, the curator from the Modern Art Museum in Fort Worth who organized «Arshile Gorky: The Breakthrough Years» in Washington, writes judiciously in the catalogue about the iconography of «The Liver Is the Cock's Comb,» seeing in it, as others have, not just nostalgic references to Armenia but also a taut sexual drama.

They have been written about extensively and have appeared on the covers of Artforum, Art in America, Modern Painters, Sculpture, and Art News.

Written by Edward A. Vazquez, Associate Professor of Modern and Contemporary Art in the Department of the History of Art and Architecture at Middlebury College, and published by the University of Chicago Press, Aspects: Fred Sandback's Sculpture is the first comprehensive monograph to have been published about the artist.

In a letter to the director of the Scottish National Gallery of Modern Art, dated 13 March 1975, she wrote about

In a letter to the director of the Scottish National Gallery of Modern Art, dated 13 March 1975, she wrote about Wave,

Farrell has lectured and written extensively about modern and contemporary art for numerous institutions, including Christie's, the Museum of Modern Art and the Morgan Library and Museum, and she was an adjunct instructor at Yale University, the American University in Paris, School of the Visual Arts in New York City, New York Univemodern and contemporary art for numerous institutions, including Christie's, the Museum of Modern Art and the Morgan Library and Museum, and she was an adjunct instructor at Yale University, the American University in Paris, School of the Visual Arts in New York City, New York Universiart for numerous institutions, including Christie's, the Museum of Modern Art and the Morgan Library and Museum, and she was an adjunct instructor at Yale University, the American University in Paris, School of the Visual Arts in New York City, New York UniveModern Art and the Morgan Library and Museum, and she was an adjunct instructor at Yale University, the American University in Paris, School of the Visual Arts in New York City, New York UniversiArt and the Morgan Library and Museum, and she was an adjunct instructor at Yale University, the American University in Paris, School of the Visual Arts in New York City, New York University.

About Blog Since 2011, I have been writing articles and reviews of modern and contemporary art.