Sentences with phrase «wrote of a retrospective exhibition»

He wrote of a retrospective exhibition in Buffalo in 1988: «his full maturity came after the abstract expressionist «period» — in fact, after 1960 — and his career illustrates the perils of generalising about decades, groups or movements.

Not exact matches

Stephen Knudsen writes about the work of Lois Dodd, on view in the recent retrospective exhibition Catching the Light at the Kemper Museum of Art, Kansas City (on view at the Portland Art Museum, Maine from January 17, 2013 - April 3, 2013).

On the occasion of the only full - scale retrospective Porter's work has been given - the exhibition called Fairfield Porter (1907 - 1975): Realist Painter in an Age of Abstraction, which Kenworth Moffett organized at the Museum of Fine Arts in Bostonin1983 - I wrote that «For myself, though as a critic I had praised Porter's work on a number of occasions during thelast20yearsand though I knew it well, I found I was not really prepared for what I found in this exhibition....

In Art in America's review of Fendrich's 2010 retrospective exhibition at Scripps College, Leah Ollman wrote: «She generates energy and rhythm in her work, through a carnivalesque approach to color, exuberant but finely tuned.

At the time of writing the content of Huyghe's exhibition — the French conceptualist's first in the UK since his 2006 Tate retrospective — is under wraps.

In his first exhibition following the 2007 career retrospective, Thomas Chimes: Adventures in «Pataphysics, at the Philadelphia Museum of Art, Chimes will be exhibiting new works that continue to reflect his diverse interests in alchemy, James Joyce's Finnegan's Wake, astronomy, the writing of Alfred Jarry, and Greek poetry in the form of celestial, white and gold paintings.

He writes, in the retrospective exhibition catalog: «Osborne's translations of nature through the methods of soaked pigment, ecstatic and hallucinatory chroma, and evocative brush gestures conjure touch, taste, and scent.

The New Yorker writes, «This succinct retrospective makes a strong case for the painter, who died in 1984, as an underrated master of Abstract Expressionism,» of Robert Miller Gallery's current exhibition, Lee Krasner.

«Someone once referred to the figure I did in the Northern Lights painting as a pimp,» wrote Hendricks in his exhibition catalogue essay for «Birth of the Cool,» his first career retrospective, which took place at the Nasher Museum of Art in 2008.

Over the following decades, Judd wrote a number of essays on Russian artists, including «Kandinsky and his Citadel,» a review of the exhibition, Vasily Kandinsky, 1866 — 1944: A Retrospective Exhibition, at the Solomon R.Guggenheim Museum in 1963; a review of Kazimir Malevich, an exhibition in 1963 also at the Guggenheim Museum; and in 1981, a long essay «Russian Art in Regard to Myself,» on the importance of Russian art of the early twentieth century for Arexhibition, Vasily Kandinsky, 1866 — 1944: A Retrospective Exhibition, at the Solomon R.Guggenheim Museum in 1963; a review of Kazimir Malevich, an exhibition in 1963 also at the Guggenheim Museum; and in 1981, a long essay «Russian Art in Regard to Myself,» on the importance of Russian art of the early twentieth century for ArExhibition, at the Solomon R.Guggenheim Museum in 1963; a review of Kazimir Malevich, an exhibition in 1963 also at the Guggenheim Museum; and in 1981, a long essay «Russian Art in Regard to Myself,» on the importance of Russian art of the early twentieth century for Arexhibition in 1963 also at the Guggenheim Museum; and in 1981, a long essay «Russian Art in Regard to Myself,» on the importance of Russian art of the early twentieth century for Art Journal.

In the words of Peter Schjeldahl, writing in The New Yorker about the exhibition No Problem: Cologne / New York 1984 — 1989 at David Zwirner in New York, «the show's cast of artists amounts to a retrospective shopping list of what would matter and endure in art of the era.»

In the words of Peter Schjeldahl, writing recently in The New Yorker about the exhibition No Problem: Cologne / New York 1984 — 1989 at David Zwirner in New York, «the show's cast of artists amounts to a retrospective shopping list of what would matter and endure in art of the era.»

Honors: Guggenheim Fellowship Two National Endowment for the Arts grants, among other commendations Public collections Solomon R. Guggenheim Museum, New York, New York Los Angeles County Museum of Art, California The Museum of Modern Art, New York, New York National Gallery of Victoria, Melbourne, Australia San Francisco Museum of Modern Art, California Walker Art Center, Minneapolis, Minnesota Whitney Museum of American Art, New York, New York Retrospective: traveled to Irish Museum of Modern Art, Dublin The Van Abbemuseum, Eindhoven, The Netherlands Le Consortium, Dijon, France Museum of Art, Rhode Island School of Design, Providence New Museum, New York, New York The Museum of Contemporary Art, Los Angeles Roberta Smith wrote in The New York Times on Feb. 17, 2011 of Benglis» retrospective, «Whether you have been watching Ms. Benglis» varied career for decades or know her primarily from the latex pieces and her star turn in Artforum, this exhibition pulls together and elaborates her remarkable career in a tRetrospective: traveled to Irish Museum of Modern Art, Dublin The Van Abbemuseum, Eindhoven, The Netherlands Le Consortium, Dijon, France Museum of Art, Rhode Island School of Design, Providence New Museum, New York, New York The Museum of Contemporary Art, Los Angeles Roberta Smith wrote in The New York Times on Feb. 17, 2011 of Benglis» retrospective, «Whether you have been watching Ms. Benglis» varied career for decades or know her primarily from the latex pieces and her star turn in Artforum, this exhibition pulls together and elaborates her remarkable career in a tretrospective, «Whether you have been watching Ms. Benglis» varied career for decades or know her primarily from the latex pieces and her star turn in Artforum, this exhibition pulls together and elaborates her remarkable career in a thrilling way.

n the conclusion of his 1983 review of a Lee Krasner retrospective held at the Houston Museum of Fine Arts, Robert Hughes wrote: «This is an intensely moving exhibition, and it will suggest to all but the most doctrinaire how many revisions of postwar American art history are still waiting to be made.»

Brandt had researched, curated, and written the exhibition catalogue for the first major museum retrospective of the work of the Chinese - American photographer and conceptual artist who gained a following in the 1980s as an «ambiguous ambassador» in a signature Mao suit.

Bill Morris writes about painter Rackstraw Downes on the occasion of the exhibition Rackstraw Downes: Onsite Paintings, 1972 - 2008, a retrospective on view at the Weatherspoon Art Museum in Greensboro, NC through August 21, 2011.

Alongside writing, he has made a number of found footage films, including Disturbances (2010), The Serendipity Loops (2012) and Subliminal (2015), and contributed to many group exhibitions, made an edition of Tarot cards and fabricated retrospective solo shows under the entirely fictional identity of the British collage artist Robert Holcombe (b. 1923 — d. 2003)

Reviewing the beloved early twentieth - century Italian painter Giorgio Morandi's hugely popular 2008 retrospective exhibition, The New York Times» Holland Cotter wrote, «Aspirants to the role of painter - as - poet are many.

From 2007 to 2008, a retrospective exhibition dedicated to his work entitled «The Plastic Space of Light» was held in Brazil, accompanied by a critical text written by Luca Massimo Barbero.

In an essay for the Tate's retrospective exhibition of Georgia O'Keeffe this past summer (2016), Griselda Pollock writes that as a young art historian in the 1970s, she initially could not «see» O'Keeffe's work.

In 1993 Arning organized the first exhibition about gender and sexuality in South America, Maricas at the Center Cultural Ricardo Rojas at the University of Buenos Aires.He has written texts for retrospectives of Jim Hodges, Keith Haring, and Donald Moffett as well as other writing for books by Elmgreen and Dragset and Lawrence Rinder, and has written an essay on the art market and AIDS for the upcoming publication ArtAIDSAmerica being organized by the Tacoma Art Museum.

In 1939, Sheeler was featured in a retrospective exhibition of paintings, drawings, and photos at the Museum of Modern Art and Williams wrote for his exhibition catalog.

[5] «Since his retrospective exhibition at the Whitney in 1964,» Tucker wrote, «Jack Tworkov has been working on a body of paintings in which technique, color, and formal bias appear startlingly different from his earlier Abstract Expressionist works.

All of which is a reminder that this remarkable artist, whose work has been exhibited and admired and written about for half a century, has never been given a retrospective exhibition in a New York museum.