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522 articles
Book Review
Duchamp’s Telegram: From Beaux-Arts to Art-in-General
02/2025 | 1463 | 167
Pages: 199–200
related names
Reviewer:
Erkan, Ekin (Erkan, Ekin)
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artists:
subjects:
Reviewed Items
subjects:
Duchamp’s Telegram: From Beaux-Arts to Art-in-General By Thierry de Duve. 456 pp. incl. numerous col. + b. & w. ills. (Reaktion Books, London, 2024), £30. ISBN 978–1–7891–4698–1. | :
Book Review
‘Ars Habsburgica’: New Perspectives on Sixteenth-Century Art
01/2025 | 1462 | 167
Pages: 67-8
related names
Reviewer:
Gutiérrez Baños, Fernando (Gutiérrez Baños, Fernando)
Subjects
Reviewed Items
subjects:
‘Ars Habsburgica’: New Perspectives on Sixteenth-Century Art Edited by Fernando Checa and Miguel Ángel Zalama, 268 pp. incl. 45 b. & w. ills. (Brepols, Turnhout, 2023), €99. ISBN 978–2–503–59594–8. | :
Book Review
Aby Warburg 150: Work, Legacy, Promise
11/2024 | 1460 | 166
Pages: 1199–1200
related names
Reviewer:
Centanni, Monica (Centanni, Monica)
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Reviewed Items
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Aby Warburg 150: Work, Legacy, Promise Edited by David Freedberg and Claudia Wedepohl. 464 pp. incl. 30 col. + 70 b. & w. ills. (De Gruyter, Berlin and Boston, 2024), £42.50. ISBN 978–3–11–061256–1. | :
Book Review
How Do Images Work? Strategies of Visual Communication in Medieval Art
11/2024 | 1460 | 166
Pages: 1187–1188
related names
Reviewer:
Luxford, Julian (Luxford, Julian)
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Reviewed Items
subjects:
How Do Images Work? Strategies of Visual Communication in Medieval Art Edited by Christine Beier, Tim Juckes and Assaf Pinkus. 244 pp. incl. 140 col. + 31 b. & w. ills. (Brepols, Turnhout, 2021), €100. ISBN 978–2–503–59587–0. | :
Book Review
The Double: Identity and Difference in Art since 1900
11/2023 | 1448 | 165
Pages: 1241-1243
related names
Reviewer:
Lloyd, Kathryn (Lloyd, Kathryn)
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The Double: Identity and Difference in Art since 1900 By James Meyer, with contributions by Julia Bryan-Wilson, Tom Gunning, Hillel Schwartz, Shawn Michelle Smith and Andrew Solomon. 288 pp. incl. 140 col. + 60 b. & w. ills. (Princeton University Press and National Gallery of Art, Washington, 2022), £52. ISBN 978–0–691–23617–9. | :
Illustrations
Attributed works:
7. Allie Mae Burroughs, Hale County, Alabama, by Walker Evans. 1936. Gelatin silver print, 24.3 by 19.2 cm. (Private collection).
Attributed works:
8. After Walker Evans: 4, by Sherrie Levine. 1981. Gelatin silver print, 12.8 by 9.8 cm. (Metropolitan Museum of Art, New York).
Attributed works:
9. Stills from Left side / right side, by Joan Jonas. 1972. Black-and-white video, duration 8 minutes 50 seconds. (Courtesy Electronic Arts Intermix, New York).
Article
The anxiety of Op: towards a theory of art and the non-visual senses
09/2023 | 1446 | 165
Pages: 988-95
related names
Author:
Díaz, Eva (Díaz, Eva)
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Illustrations
Attributed works:
1. Current, by Bridget Riley. 1964. Synthetic polymer paint on board, 48.1 by 149.3 cm. (Museum of Modern Art, New York; Scala, Florence).
Attributed works:
2. Installation view of The Responsive Eye at the Museum of Modern Art, New York, 1965, showing in the far corner Instability through movement of the spectator, by Julio Le Parc. 1962–64. (Museum of Modern Art Archives, New York; Scala, Florence; photograph George Cserna).
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3. The duel, by Julian Stanczak. 1963. Synthetic polymer paint on canvas, 137.2 by 198.1 cm. (Museum of Modern Art, New York; Scala, Florence).
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4. Cover of the exhibition catalogue for The Responsive Eye at the Museum of Modern Art, New York (1965), designed by Joseph Bourke Del Valle.
Attributed works:
5. Bridget Riley standing amongst her 3D painted artwork ‘Continuum, 1963’, in an exhibition at Gallery One, 16 North Audley Street, London, by Tom Picton. 1963. (© Estate of Tom Picton; artwork © Bridget Riley 2023; Tate Images).
Book Review
Radical Art and the Formation of the Avant-Garde
08/2023 | 1445 | 165
Pages: 925-926
related names
Reviewer:
Green, Christopher (Green, Christopher)
Subjects
Reviewed Items
subjects:
Radical Art and the Formation of the Avant-Garde By David Cottington. 384 pp. incl. 56 col. + 8 b. & w. ills. (Yale University Press, New Haven and London, 2022), £30. IBSN 978–0–300– 16673–6. | :
Editorial
At Tate Britain
07/2023 | 1444 | 165
Pages: 695
Book Review
Radical Picasso: The Use Value of Genius
07/2023 | 1444 | 165
Pages: 809–810
related names
Reviewer:
Ribner, Jonathan (Ribner, Jonathan)
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Reviewed Items
subjects:
Radical Picasso: The Use Value of Genius By C.F.B. Miller. 320 pp. incl. 42 col. + 30 b. & w. ills. (University of California Press, Oakland, 2022), £50. ISBN 978–0–520–29014–3. | :
Article
Landscape as grid in Stephen Shore’s ‘American surfaces’
05/2023 | 1442 | 165
Pages: 522-529
related names
Author:
Cornelius, Thomas (Cornelius, Thomas)
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dates:
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Illustrations
Attributed works:
1. Paraphernalia Opening. Rene Ricard, Susan Bottomly, Eric Emerson, Mary Woronov, Andy Warhol, Ronnie Cutrone, Paul Morrissey, Pepper Davis, by Stephen Shore. 1965–67. Gelatin silver print, 32.4 by 48.3 cm. (© Stephen Shore; courtesy 303 Gallery, New York).
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10. Detail from Variable piece #70: 1971 (in process) global 633, by Douglas Huebler. 1978. Gelatin silver prints and chromogenic prints. (J. Paul Getty Museum, Los Angeles; © DACS, London).
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11. Kanab, Utah, from the series American surfaces (1972–73), by Stephen Shore. 25th June 1972. Chromogenic print, 8.9 by 12.7 cm. (© Stephen Shore; courtesy 303 Gallery, New York).
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2. Amarillo, Texas, from the series American surfaces (1972–73), by Stephen Shore. July 1972. Chromogenic print, 8.9 by 12.7 cm. (© Stephen Shore; courtesy 303 Gallery, New York).
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3. Amarillo, Texas, from the series American surfaces (1972–73), by Stephen Shore. 2nd July 1972. Chromogenic print, 8.9 by 12.7 cm. (© Stephen Shore; courtesy 303 Gallery, New York).
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4. Oklahoma City, Oklahoma, from the series American surfaces (1972–73), by Stephen Shore. 9th July 1972. Chromogenic print, 8.9 by 12.7 cm. (© Stephen Shore; courtesy 303 Gallery, New York).
Attributed works:
5. Ed Ruscha holding his book ‘Every Building on the Sunset Strip’ (1966), by Jerry McMillan. 1967. (© Ed Ruscha and Jerry McMillan; courtesy Craig Krull Gallery, Santa Monica).
Attributed works:
6. Installation view of Stephen Shore at the Museum of Modern Art, New York, 2017–18, showing the series American surfaces (1972–73). (Courtesy Museum of Modern Art, New York; photograph Robert Gerhardt).
Attributed works:
7. Dallas, Texas, from the series American surfaces (1972–73), by Stephen Shore. June 1972. Chromogenic print, 8.9 by 12.7 cm. (© Stephen Shore; courtesy 303 Gallery, New York).
Attributed works:
8. Stone, by Agnes Martin. 1964. Ink on paper, 27.7 by 27.7 cm. (Museum of Modern Art, New York; © DACS, London).
Attributed works:
9. Kanab, Utah, from the series American surfaces (1972–73), by Stephen Shore. 25th June 1972. Chromogenic print, 8.9 by 12.7 cm. (© Stephen Shore; courtesy 303 Gallery, New York).
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