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1307 articles
Exhibition Review
Breaking Lines: Futurism and the Origins of Experimental Poetry: Dom Sylvester Houédard and Concrete Poetry in Post-war Britain
05/2025 | 1466 | 167
Pages: 494–7
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related names
Reviewer:
Thomas, Greg (Thomas, Greg)
Subjects
artists:
Houédard, Sylvester
dates:
1910-1919 / 1920-1929 / 1930-1939 / 1940-1949 / 1940-1959 / 1950-1959 / 1950-1999 / 1960-1969
subjects:
Futurism / Concrete poetry
Reviewed Items
subjects:
Breaking Lines: Futurism and the Origins of Experimental Poetry: Dom Sylvester Houédard and Concrete Poetry in Post-war Britain Estorick Collection, London 15th January–11th May | :
Illustrations
Attributed works:
13. Madrigale veneziano (Venetian madrigal) from Aeromusiche d’alfabeto in libertà: Marinetti Crali Cenisi, by Tullio Crali. 1944. (Private collection; exh. Estorick Collection, London).
Attributed works:
14. ishtar’s descent, by Dom Sylvester Houédard. 1971. Typed page 29.7 x 21 cm. (Courtest Lisson Gallery, London; exh. Estorick Collection, London).
Attributed works:
15. Untitled, by Dom Sylvester Houédard. 1967. Newspaper cuttings, fabric and PVC plastic, 35.7 by 33.7 cm. (Courtesy Lisson Gallery, London; exh. Estorick Collection, London).
Short Notice
What are Barnett Newman’s reds, yellows and blues?
10/2023 | 1447 | 165
Pages: 1111–1115
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Author:
Epley, Bradford A. (Epley, Bradford A.)
Author:
Rogge, Corina E. (Rogge, Corina E.)
Subjects
artists:
Newman, Barnett
dates:
1960-1969
subjects:
American art / Colour / Blue (colour) / Red / Yellow / Pigments / Scientific analysis
Illustrations
Attributed works:
1. Who’s afraid of red, yellow and blue I, by Barnett Newman. 1966. Oil on canvas, 190.5 by 212.9 cm. (© Barnett Newman Foundation, New York; DACS, London; private collection).
Attributed works:
2. Who’s afraid of red, yellow and blue II, by Barnett Newman. 1967. Acrylic on canvas, 304.8 by 259.1 cm. (© Barnett Newman Foundation, New York; DACS, London; Staatsgalerie, Stuttgart).
Attributed works:
3. Who’s afraid of red, yellow and blue III, by Barnett Newman. 1967–68. Oil on canvas, 245 by 543 cm. (© Barnett Newman Foundation, New York; DACS, London; Stedelijk Museum, Amsterdam).
Attributed works:
4. Who’s afraid of red, yellow and blue IV, by Barnett Newman. 1969–70. Acrylic on canvas, 274.3 by 604.5 cm. (© Barnett Newman Foundation, New York; DACS, London; Staatliche Museen zu Berlin-Preussischer Kulturbesitz).
Attributed works:
5. Chartres, by Barnett Newman. 1969. Acrylic on canvas, 305 by 289.5 cm. (© Barnett Newman Foundation, New York; DACS, London; Daros Collection, Switzerland).
Attributed works:
6. Colour swatches reproducing the red, blue, and yellow paints in Who’s afraid of red, yellow and blue I, II, IV and Chartres as measured by spectrophotometry. The values in parentheses are the CIEDE2000 values measuring the difference between the colours of Who’s afraid I and each of the other paintings. (Menil Collection, Houston).
Attributed works:
7. Newman at his 1969 exhibition at the Knoedler Gallery, New York. On the wall next to the doorway hangs Who’s afraid I. (© Barnett Newman Foundation, New York; DACS, London).
Article
One short trip to New York: Bill Jay and Tony Ray-Jones
05/2023 | 1442 | 165
Pages: 513-521
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Author:
Scott, Grant (Scott, Grant)
Subjects
artists:
Ray-Jones, Tony / Jay, William / Arbus, Diane / Weegee / Friedlander, Lee
dates:
1960-1969
places:
New York
subjects:
American photography / British photography
subjects:
Magazines (periodicals)
Illustrations
Attributed works:
1. Untitled (Street parade, New York), by Bill Jay. 1968. Scan from a vintage negative. (Bill Jay Estate, Tempe).
Attributed works:
10. Photographs by Tony Ray-Jones in a spread from Creative Camera (April 1969), pp.140–41.
Attributed works:
2. Bill Jay, photographed in c.1966. (Bill Jay Estate, Tempe).
Attributed works:
3. Tony Ray-Jones, by Bill Jay. 1968. Scan from a vintage negative. (Bill Jay Estate, Tempe).
Attributed works:
4. Weegee, by Bill Jay. 1968. Gelatin silver print, 27.9 by 19.1 cm. (Bill Jay Estate, Tempe; Museum of Fine Arts, Houston).
Attributed works:
5. Contact sheet of photographs taken in New York, including frames showing Weegee in his New York apartment, by Bill Jay. 1968. Vintage contact sheet, 20.3 by 25.4 cm. (Bill Jay Estate, Tempe).
Attributed works:
6. Weegee in his New York apartment, by Bill Jay. 1968. Scan from a vintage negative. (Bill Jay Estate, Tempe).
Attributed works:
7. Robert Frank’s ‘Letter from New York’, in a spread from Creative Camera (July 1969), pp.234–35.
Attributed works:
8. Contact sheet of photographs taken in New York, showing a street parade, by Bill Jay. 1968. Vintage contact sheet, 20.3 by 25.4 cm. (Bill Jay Estate, Tempe).
Attributed works:
9. Lee Friedlander’s ‘Five portraits’ in a spread from Creative Camera (May 1969), pp.178–81.
Article
The Emotan Panel in the Penn Museum
09/2022 | 1434 | 164
Pages: 888-897
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Author:
Curnow, Kathy (Curnow, Kathy)
Subjects
artists:
Edokpolo, Isaac O
artists:
Danford, John Alexander
dates:
1960-1969
museums and institutions:
Penn Museum, University of Pennsylvania Museum of Archaeology and Anthropology, Philadelphia, United
places:
Nigeria / Benin
subjects:
Carvings / Wood sculpture / Plaques / Monarchy
subjects:
Africans / Iconography / African sculpture
Illustrations
Attributed works:
1. Decorative plaque (the Emotan Panel), by Isaac O. Edokpolo. c.1959–66. Wood, 39 by 29.5 by 2 cm. (Penn Museum, Philadelphia).
Attributed works:
10. Detail of Fig.1, showing the medallion.
Attributed works:
11. Isaac O. Edokpolo’s business card. 9 by 7 cm. (Photograph Norma Wolff).
Attributed works:
12. Decorative plaque, by Isaac O. Edokpolo. Before 1966. Wood, approximately 38.53 by 26 cm. (Private collection; photograph Norma Wolff).
Attributed works:
2. Emotan, by John Alexander Danford. 1954. Bronze, height 182.9 cm. without base. (Photograph Barbara Blackmun, 1994).
Attributed works:
3. John Danford working on Emotan in his studio in Chelsea, London, 3rd April 1953. (Keystone Press; Alamy).
Attributed works:
4. A group of chiefs’ wives at a palace ceremony, their hair decorated with coral ornaments and brass feathers. 1994. (Photograph the author).
Attributed works:
5. The Emotan shrine as it appears today. (Photograph 21st June 2018, courtesy AllTimePost.com).
Attributed works:
6. The newly crowned O. ba of Benin Kingdom, Eheneden Erediauwa, is guided through a symbolic bridge by the palace chiefs during his coronation in Benin City, Nigeria, 20th October 2016. (Photograph Reuters / Akintunde Akinleye; Alamy).
Attributed works:
7. Decorative plaque, by Isaac O. Edokpolo. c.1960s. Wood, 30 by 28 cm. (Private collection; photograph Michael Graham Stewart).
Attributed works:
8. Carved container. Late 19th century. Coconut, height 12.7 cm. (Metropolitan Museum of Art, New York).
Attributed works:
9. Prototype medallion for the London Royal Society of Arts, by Thomas Pingo. 1790. Silver, diameter 4.4 cm. (Metropolitan Museum of Art, New York).
Exhibition Review
Surrealism Beyond Borders
06/2022 | 1431 | 164
Pages: 592-594
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related names
Reviewer:
Richardson, Michael (Richardson, Michael)
Subjects
artists:
Dalí, Salvador / Magritte, René / Ernst, Max / Duchamp, Marcel / Chirico, Giorgio de / Joans, Ted / El Janaby, Abdul Kader / Yayoi Kusama, b. 1929 / Rosenstein, Erna
dates:
1920-1929 / 1930-1939 / 1940-1949 / 1940-1959 / 1950-1959 / 1960-1969 / 1970-1979
dates:
2020-2030
museums and institutions:
Tate Modern, London, Great Britain / Metropolitan Museum of Art, New York, United States
subjects:
Surrealism / Globalism / Politics / Postcolonialism
Reviewed Items
subjects:
Surrealism Beyond Borders Tate Modern, London 24th February–29th August | :
Illustrations
Attributed works:
1. A circus rider’s dream, by Yayoi Kusama. 1955. Gouache on paper, 74.9 by 64.5 cm. (Private collection; © Yayoi Kusama; courtesy David Zwirner, New York; Ota Fine Arts, Tokyo, Singapore and Shanghai; Victoria Miro, London and Venice; photograph Elisabeth Bernstein; exh. Tate Modern, London).
Attributed works:
2. The seven sons of Lautréamont (and his dutiful beautiful daughter), by Ted Joans, Heriberto Cogollo, Agustin Cárdenas, Jorge Camacho, Wifredo Lam, Roberto Matta, Hervé Télémaque and Joyce Mansour. 1970–79. Ink on paper with poem, 76.2 by 21.6 cm. (Private collection; © Ted Joans Estate; courtesy Laura Corsiglia; photograph Buddy Ratner; exh. Tate Modern, London).
Attributed works:
3. Ekrany (screens), by Erna Rosenstein. 1951. Oil on canvas, 48 by 64 cm. (© Muzeum Sztuki, Łódź; exh. Tate Modern, London).
Exhibition Review
Julie Manet: An Impressionist Heritage
03/2022 | 1428 | 164
Pages: 305-307
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Reviewer:
Thomson, Belinda (Thomson, Belinda)
Subjects
artists:
Manet, Julie / Morisot, Berthe / Renoir, Pierre-Auguste / Daumier, Honoré / Corot, Jean-Baptiste-Camille / Delacroix, Eugène / Degas, Edgar
artists:
Rouart, Ernest
dates:
2020-2030 / 1880-1919 / 1930-1939 / 1940-1959 / 1950-1959 / 1960-1969
museums and institutions:
Musée Marmottan Monet, Paris, France
subjects:
French art / Impressionism
Reviewed Items
subjects:
Julie Manet: An Impressionist Heritage Musée Marmottan Monet, Paris 19th October 2021–20th March 2022 | :
Illustrations
Attributed works:
27. Julie Manet or Child with cat, by Pierre- Auguste Renoir. 1887. Oil on canvas, 65.5 by 53.5 cm. (Musée d’Orsay, Paris; exh. Musée Marmottan Monet, Paris).
Attributed works:
28. Julie Manet writing, by Ernest Rouart. Undated. Oil on canvas, 116.7 by 89.2 cm. (Private collection; exh. Musée Marmottan Monet, Paris).
Attributed works:
29. Portraits of Jeannie at the piano and Paule listening to her, by Julie Manet. 1899. Oil on canvas, 90 by 90 cm. (Private collection; exh. Musée Marmottan Monet, Paris).
Article
The fate of Chinese history painting in an age of ideology
10/2021 | 1423 | 163
Pages: 908-915
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Author:
Yiqiang Cao (Yiqiang Cao)
Subjects
artists:
Dong, Xiwen (1914-73) / Mo, Pu (1915-96) / Luo, Gongliu (1916-2004) / Jiang, Feng (1910-82) / Hu, Yichuan (1910-2000) / Wang, Shikuo (1911-73) / Quan, Shansi (b. 1930)
artists:
Shi, Lu
dates:
1950-1959 / 1960-1969
museums and institutions:
National Museum of China, Beijing, China
subjects:
Chinese art / Oil painting (technique) / Propaganda / Communism / History paintings
Illustrations
Attributed works:
1. Settling accounts, by Mo Pu. 1948. Oil on canvas, 90 by 116 cm. (National Art Museum of China, Beijing).
Attributed works:
10. Five heroes of Mount Langya, by Zhan Jianjun. 1959. Oil on canvas, 186 by 236 cm. (National Museum of China, Beijing).
Attributed works:
2. The founding of the nation, by Jin Shangyi and Zhao Yu after Dong Xiwen. 1972. Oil on canvas, 230 by 405 cm. (National Museum of China, Beijing).
Attributed works:
3. Tunnel warfare, by Luo Gongliu. 1951. Oil on canvas, 148 by 178 cm. (National Museum of China, Beijing).
Attributed works:
4. Fighting in Northern Shaanxi, by Shi Lu. 1959. Ink and brush on paper, 233 by 216 cm. (National Museum of China, Beijing).
Attributed works:
5. Eight women soldiers drowning themselves in the Yangtze River, by Wang Shenglie. 1957. Ink and brush on paper, 145 by 392 cm. (Military Museum of the Chinese People’s Revolution, Beijing).
Attributed works:
6. Death before surrender, by Quan Shanshi. 1961. Oil on canvas, 233 by 217 cm. (National Museum of China, Beijing).
Attributed works:
7. Bloody clothes, by Wang Shikuo. 1959. Charcoal on canvas, 192 by 345 cm. (National Museum of China, Beijing).
Attributed works:
8. Very good!, by Zhan Jianjun. 1975. Oil on canvas, 190 by 320 cm. (National Museum of China, Beijing).
Attributed works:
9. An Uzbek, by Quan Shanshi. 1957. Oil on canvas, 115 by 94 cm. (Private collection).
Book Review
London’s New Scene: Art and Culture in the 1960s
02/2021 | 1415 | 163
Pages: 191
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related names
Reviewer:
Massey, Anne (Massey, Anne)
Subjects
dates:
1960-1969
places:
London
subjects:
British art / Art market / Culture / Pop art / Exhibitions
Reviewed Items
subjects:
London’s New Scene: Art and Culture in the 1960s By Lisa Tickner. 416 pp. incl. 80 col. + 120 b. & w. ills. (Paul Mellon Centre for Studies in British Art, London, 2020), £35. ISBN 978–1–913107–10–9. | :
Exhibition Review
Martha Rosler: Irrespective. Jewish Museum, New York
03/2019 | 1392 | 161
Pages: 248-251
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Reviewer:
Slifkin, Robert (Slifkin, Robert)
Subjects
artists:
Rosler, Martha
dates:
1960-1969 / 1970-1979 / 1980-1989 / 1990-2009 / 2010-2019
media:
Photography / Videos / Installations (visual works)
museums and institutions:
Jewish Museum, New York, United States
styles:
American art / Conceptual art / Post-Modern
Illustrations
Attributed works:
22. First Lady (Pat Nixon), from the series House beautiful: bringing the war home, by Martha Rosler. c.1967–72. Photomontage, 50.8 by 61 cm. (© Martha Rosler; image courtesy the artist and Mitchell-Innes & Nash, New York; exh. Jewish Museum, New York).
Attributed works:
23. Installation view of Objects with no titles, by Martha Rosler. c.1973/2018. Mixed media. (© Martha Rosler; courtesy of the artist and Mitchell-Innes & Nash, New York; photograph Jason Mandella; exh. Jewish Museum, New York).
Attributed works:
24. Still from Vital Statistics of a Citizen, Simply Obtained, by Martha Rosler. 1977. Video, 40 mins. (© Martha Rosler; exh. Jewish Museum, New York).
Exhibition Review
Outliers and American Vanguard Art. Los Angeles County Museum of Art
03/2019 | 1392 | 161
Pages: 246-248
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related names
Reviewer:
Pohl, Frances K. (Pohl, Frances K. )
Subjects
dates:
1920-1929 / 1930-1939 / 1960-1969 / 1970-1979 / 1980-1989 / 1990-2009 / 2010-2019
museums and institutions:
Los Angeles County Museum of Art, Los Angeles, United States
subjects:
American art / Outsider art / Modernism / Avant-garde
Illustrations
Attributed works:
19. Adelard the drowned, master of ‘The Phantom’, by Marsden Hartley. c.1938–39. Board, 71.1 by 55.9 cm. (Frederick R. Weisman Art Museum at the University of Minnesota, Minneapolis; exh. Los Angeles County Museum of Art).
Attributed works:
20. Candy Darling, by Greer Lankton. 1985. Fabric, wire, glass, human hair, acrylic paint, matte medium, feathers and metal, 76.2 by 30.5 by 7.6 cm. (Paul Monroe; Greer Lankton Archive Museum; exh. Los Angeles County Museum of Art).
Attributed works:
21. Take my yoke upon you and learn of me saith Jesus, #1,060, by Howard Finster. 1977–78. Paint on board with embossed wood, 44.5 by 122.6 cm. (High Museum of Art, Atlanta; exh. Los Angeles County Museum of Art).
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