Exhibition catalogue published in conjunction with show held at the Newhouse Center for Contemporary Art, Snug Harbor Cultural Center, New York, March 27 - September 7, 1997. Introduction by Olivia Georgia. ... [details]
Two record anthology of artist's aural work and music. Artists include Vito Acconci, Laurie Anderson, Jacki Apple, Connie Beckley, Jim Burton, Diego Cortez, Terry Fox, Jana Haimsohn, Julia Heyward, Leandro Katz, Meredith Monk, Richard Nonas, and Dennis Oppenheim. ... [details]
Exhibition catalogue published in conjunction with retrospective held at the Utah Museum of Fine Arts of the University of Utah, January 7 - February 7, 1971. Traveled to the University of California at San Diego, February 24 - April 14, 1971 ; the Minnesota Museum of Art at St. ... [details]
Exhibition catalogue published in conjunction with show held May 31 - September 15, 2002. Includes texts by Laurence Bossé, Angeline Scherf, Hans Ulrich Obrist, Xavier Douroux, Frank Gautherot, Jaron Lanier, Doug Aitken, Mathias Augustyniak, Nicolas Bourriaud, Maurizio Cattelan, Charles de Meaux, Xavier Douroux, Frank Gautherot, Liam Gillick, Dominique Gonzalez-Foerster, Hans-Ulrich Obrist, Carsten Höller, Pierre Huyghe, François Roche, Angeline Scherf, Rirkrit Tiravanija, Éric Troncy, and Cerith Wyn Evans. ... [details]
Exhibition catalogue published in conjunction with show held at the Castello di Rivoli, Museo d'Arte Contemporanea, October 20, 1997 - January 18, 1998. Essays by Ida Gianelli, Johanna Drucker, and David Ross. ... [details]
Critical review of art of the 1980s by Barbara Rose illustrated with portraits of the artists alongside an image of one of their works, and statements by the artists. Portrait photographs by Steven Sloman. ... [details]
Exhibition catalogue published in conjunction with show held January 12-March 30, 1986. Contributions by Sam Hunter, James D. Robinson, Elliot B. Barnett, George Bolge, Harry F. Gaugh, Robert C. Morgan, Richard Sarnoff, Malcolm Daniel, Karen Koehler and Kim Levin. ... [details]
Anthology of critical essays by André Breton. Artists, philosophers, and other figures mentioned in the text include André Breton, Corneille Agrippa, Guillaume Apollinaire, Apulee, Louis Aragon, Alexander Archipenko, Hans Arp, Gaston Bachelard, Honoré de Balzac, Hans Bellmer, Bleuler, Umberto Boccioni, Jérôme Bosch, Constantin Brancusi, Georges Braque, Victor Brauner, Bettina Brentano, Jean-Paul Brisset, Charles de Brosses, Robert Browning, Giordano Bruno, Alexander Calder, Leonora Carrington, Blaise Cendrars, Paul Cezanne, Marc Chagall, Giorgio de Chirico, Cimabue, Joseph Cornell, Piero di Cosimo, Georges Courteline, Charles Cros, Salvador Dali, Paul Delvaux, André Derain, Denis Diderot, Oscar Dominquez, Enrico Donati, Isidore Ducasse, Marcel Duchamp, Raymond Duchamp-Villon, Eckhardt, Albert Einstein, Paul Eluard, Max Ernst, Serge Essenine, Joachim de Flore, Théodore Flournoy, Jean Fouquet, Charles Fourier, Esteban Frances, James George Frazer, Sigmund Freud, von der Gabelentz, Alberto Giacometti, Giotto, Goethe, Arshile Gorky, Mathias Grunewald, Gutenberg, David Hare, S. ... [details]
Exhibition catalogue published in conjunction with show held on the 35th anniversary of the Angela Flowers Gallery. Introduction by Robert Heller. Artists include Glenys Barton, Glen Baxter, George Blacklock, Boyd and Evans, Edward Burtynsky, Stephen Chambers, Bernard Cohen, Ken Currie, Amanda Faulkner, John Gibbons, Alan Gouk, Friedemann Hahn, David Hepher, Nicola Hicks, Derek Hirst, Carole Hodgson, Peter Howson, Patrick Hughes, Neil Jeffries, Lucy Jones, John Keane, Michael Kidner, John Kirby, Henry Kondracki, Tim Lewis, John Loker, John McLean, Jiro Osuga, Eduardo Paolozzi, Freya Payne, Tom Phillips, Steven Pyke, Carol Robertson, Tai-Shan Schierenberg, Jack Smith, Richard Smith, Trevor Sutton, Renny Tait, Brian Wall and Gary Wragg. [details]
"How can an art exhibition function as a stand-in for the artists and their studios? How can a gallery project provide greater insight into an artist's practice, the way the formality of a slide lecture or the intimacy of a studio visit can? How can the back-story of the work on display be understood, without being solely reliant on a curatorial statement, catalogue essay or press release? This exhibition allows art to be understood as an ongoing and slippery practice, and less the finite, linear and object-oriented one assumed by the standard exhibition format. ... [details]
