Sentences with phrase «written numerous exhibition»
He has written numerous exhibition catalog essays and articles in such publications as Art Journal, Artforum, Parkett, and Art Bulletin.
https://whitney.org/
She has written numerous exhibition catalogues and articles in popular and scholarly publications.
Not exact matches
She has written widely on the subject for numerous journals and exhibition catalogues, and is the author of many artists» monographs.
He has lectured widely, curated numerous exhibitions (other than his own work), and has written literally hundreds of critical essays.
She has written on curating and exhibition practices for numerous publications and magazines, including Parkett, Modern Painters, Mousse, Art in America, Manifesta Journal, the Exhibitionist, and Frieze.
He was an early supporter of the work of Jean - Michel Basquiat, Keith Haring, and Jeff Koons and has written extensively about them and presented numerous exhibitions of their work.
He contributes articles to numerous publications and has written many catalogues for one ‑ person and group exhibitions.
He has written numerous contributions on contemporary art and has curated solo - exhibitions with Louise Lawler, Johanna Billing, Christian Philipp Müller, Simon Starling, Amelie von Wulffen, Sterling Ruby amongst others but also large - scale thematic exhibitions like Flashback — Revisiting the Art of the 80s and Index — California Conceptualism.
Simon's photographs and writing have been featured in numerous international publications and her work has been the subject of monograph exhibitions at institutions including the Tate Modern, London; Museum für Moderne Kunst, Frankfurt; Kunst - Werke Institute for Contemporary Art and Neue Nationalgalerie, both in Berlin; and the Whitney Museum of American Art and MoMA PS1, both in New York.
His writing has appeared in numerous exhibition catalogs and magazines including Kaleidoscope, Mousse, and Frieze, where he is a contributing editor.
She also co-operates the online print and fashion outlet Look Boutique, has written numerous essays for exhibition catalogs, is a regular contributor to Whitehot Magazine, and somehow also finds time to be a dedicated board member of the San Francisco Arts Commission Gallery.
She is the author of a wide range of books, which include The Omega Workshops (Secker & Warburg, 1983), The Origins of the Romanesque (Lund Humphries, 1983), Eric Gill: The Sculpture (Herbert Press, 1993) and Andy Goldsworthy: Midsummer Snowballs (Thames & Hudson, 2001), and has written exhibition catalogues on numerous artists including Eduardo Paolozzi, Henry Moore, Barbara Hepworth, Lynn Chadwick, Elisabeth Frink, Magdalena Abakanowicz, David Nash and Carl Plackman.
Mr. Fairbanks initiated the Catalogue Raisonné on the French Post-Impressionist painter, Henri Lebasque (1865 - 1937), wrote the monograph on the artist, published in 1988, and has been the author of numerous exhibition catalogues and articles.
His writing has been published in Artforum, Camera Austria and Texte zur Kunst, as well as in numerous exhibition catalogues.
In addition to essays for catalogues and books published in conjunction with the exhibitions she has curated, Katz - Freiman has written numerous articles, essays, and reviews addressing various issues in contemporary art.
His writing and photographs have appeared in such publications as Social Science Research, Places, and The New York Times, as well as in numerous exhibitions including the inaugural Belfast Photo Festival and the Museum of Contemporary Photography's Midwest Photographers Project.
In addition to her books, EyeMinded: Living and Writing Contemporary Art (2011) and South of Pico: African American Artists in Los Angeles in the 1960s and 1970s (2017), Jones has authored essays in such journals as Artforum and Third Text and numerous exhibition catalogs.
His extensive writing credits include a wide range of contributions to exhibition catalogues as well as numerous contributions to Artforum, Frieze, Flash Art, and Parkett.
She has written for Frieze, Sculpture, and Art Papers, as well as numerous exhibition catalogue essays, and she works as a staff writer at the University of Pennsylvania.
She has participated in numerous national and international exhibitions, including the solo exhibition This, and other things at The Irish Museum of Modern Art, Dublin, 2010 accompanied by a catalogue with writing by Charles Esche, Hans Ulrich Obrist, Vaari Claffey and Rachel Thomas.
In addition to his writing and commentary, he has curated numerous exhibitions, including #TheSocialGraph, which was the first exploration of the evolving landscape of social media art back in 2010, and The Arch of my Eye's Orbit at BAM in 2016.
Over the last two decades she has contributed essays to numerous exhibition catalogues, and written extensively on contemporary art for ARTnews and ArtNexus magazines.
She has curated numerous exhibitions and written / edited catalogues.
He has written about the work of Andrea Bowers, Mark Bradford, Glenn Ligon, Sharon Hayes, and Wangechi Mutu, among others, and has organized exhibitions including: «Quadruple - Consciousness» at Vox Populi, Philadelphia, «Fade: African American Artists in Los Angeles,» for the city of Los Angeles, numerous exhibitions and programs for LAXART, Los Angeles, where he served as Curator, and «Made in L.A., 2012,» the first Los Angeles biennial, co-organized by a curatorial team from the Hammer Museum and LAXART.
He has written for numerous exhibition catalogues and has published in Art History, Nineteenth - Century Art Worldwide, and the Berkeley Review of Latin - American Studies.
He has worked as a curator at Cubitt Gallery, London and the Hayward Gallery, London, and his writing has appeared in numerous exhibition catalogues and anthologies.
Her written work has appeared in Curating Now, Newcity, CS and Proximity, in addition to numerous exhibition catalogs.
A critic and curator, Kelley writes for art and music journals and has organized numerous exhibitions incorporating his own work, work by fellow artists, and non-art objects that exemplify aspects of nostalgia, the grotesque, and the uncanny.
He is responsible for numerous solo exhibitions and has written extensively for international exhibition catalogues and art journals.
He has written numerous articles, exhibition reviews, catalogue essays, lectured at many universities and art schools, curated many exhibitions, and edited several series for UMI Research Press and the Cambridge University Press.
As an authority on Noguchi and his vast body of work, she has written numerous essays and curated critically recognized exhibitions at The Noguchi Museum and other institutions worldwide.
Since 2000 she has written extensively on the documentation of performance art (After the Act: The (Re) presentation of Performance Art, 2006) and performative curatorial practices and has curated numerous exhibitions and performance series in Europe as well as North America, including the series After the Act, Again and Against and Push and Pull (2005 - 2011) at the Museum of Modern art (MUMOK) in Vienna and TATE Modern in London.
Barr has written numerous articles and organized over 20 exhibitions for the DIA including Images of Identity: Photographs of Native Americans (1994), Picturing Paris (1996), Where the Girls Are: Women Photographers (1999), The Enduring Horizon: American Landscape Photography (2000), and Style of the Century: Selections from the DIA's Collection (2002 - 03).
During this time she wrote numerous catalogue essays and curated exhibitions for a range of institutions, including «post naturam» (1998, co-curated by Magdalena Broska) and «Gebaute Horizonte» (Built horizons, 1999).
The images sing with colour - Architectural Review November 2013 Marie - Therese Pulvenis de Seligny has been curator of the Musee Matisse since 1997, and has organized numerous exhibitions and written extensively on the artist.
He has held several solo exhibitions and participated in numerous group shows and is the author of Eggmel, a book of poetry written in his native language Amharic.
In addition to his writing and commentary, he has curated numerous exhibitions, including #TheSocialGraph, which was the first exploration of the evolving landscape of social media art back in 2010.
He is a contributor to Artforum.com, Art Papers, Flash Art, Newcity, and Sculpture; and his writing appears in numerous exhibition catalogues and artist monographs.
Estévez has written for numerous exhibition catalogues and art publications, and has independently organized exhibitions in Belgium, France, Mexico, Spain, and the United States.
His writing has appeared in numerous museum publications and exhibition catalogs as well as in art periodicals such as Artforum, Frieze, and Parkett.
She wrote numerous reviews and features for Artforum, Art in America, Parkett, and Frieze, and was a contributor to exhibition catalogues on the work of Marlene Dumas, Josiah McElheny, and Bruce Nauman.
Rice's writing on contemporary Onkwehonwe art has been published in numerous periodicals and exhibition catalogues, and he has lectured widely.
He has lectured widely, written literally hundreds of critical essays, and curated numerous exhibitions.
Gartenfeld has also cofounded two exhibition spaces, Three's Company and West Street Gallery, along with curating numerous other exhibitions and writing for A.i.A. and Interview.
Besides exhibition catalogues, Angelika Nollert has written numerous essays and catalogue entries on the subject of contemporary art.
She has written for numerous Whitney exhibition catalogues as well as contributed to Artforum and Art in America.
His writing on photography has appeared in FOAM, TIME Lightbox, The Telegraph, The Sunday Times, Photoworks, The British Journal of Photography, as well as in numerous exhibition catalogues and photobooks.
She has organized numerous exhibitions, and has written and lectured on a variety of topics in American and contemporary art.
Tom has contributed critical writing to magazines including Frieze, Parkett, Metropolis M, and Bidoun, as well as numerous exhibition catalogues and edited volumes.
Roberto Ohrt, born 1954 in Santiago de Chile, lives in Hamburg in Germany, and since 1990 has written on art, curated numerous exhibitions, and co-founded the Akademie Isotrop (1996 — 2001).