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80 articles
Article
A new border from Abbot Suger’s Saint-Denis
05/2025 | 1466 | 167
Pages: 430–37
related names
Author:
Cothren, Michael W. (Cothren, Michael W.)
Author:
Shepard, Mary B. (Shepard, Mary B.)
Subjects
dates:
Illustrations
Attributed works:
12b. Detail of the reverse of a border segment from the Moses window from Saint-Denis. c.1140–45. Stained glass. (Glencairn Museum, Bryn Athyn; inv.no.03.SG.181).
Western art unattributed:
1. Reconstruction of the original design of Fig.2.
Western art unattributed:
10. Border segment from the Moses Window, from Saint-Denis. c.1140-45. Stained glass, 31.4 by 21.6 cm. (Metropolitan Museum of Art, New York; inv. no.26.218.5).
Western art unattributed:
11. Border segment from the Benedict window, from Saint-Denis. c.1140–45. Stained glass, 35.3 by 25 cm. (Glencairn Museum, Bryn Athyn; inv. no.03.SG.33).
Western art unattributed:
12a. Reverse of Fig.2. (Photograph Mary B. Shepard).
Western art unattributed:
2. Fragmented border section from Saint-Denis. c.1140–45. Stained glass, 58.1 by 10 cm. (Private collection; photograph Mark French).
Western art unattributed:
3. Border segments from the Infancy of Christ window, from Saint-Denis. c.1140–45. Stained glass, (left strip) 42.6 by 11 cm., (right strip) 42.6 by 12.1 cm. (Metropolitan Museum of Art, New York, inv. nos.26.218.6a, b).
Western art unattributed:
4. Detail of Fig.2, showing a palmette. (Photograph Mary B. Shepard).
Western art unattributed:
5. Ambulatory of Saint-Denis, c.1140–44. (Alamy Stock Photo).
Western art unattributed:
6. Border segment from Saint-Remi. c.1180–1200. Stained glass, 71.7 by 13.9 cm. (Glencairn Museum, Bryn Athyn; inv. no.03.SG.216).
Western art unattributed:
7. Border segment from an unknown window from Saint-Denis (Grodecki’s type ‘G’), by Juste Lisch. c.1140–45. Stained glass, 49.3 by 13 cm. (Glencairn Museum, Bryn Athyn; inv. no.03.SG.6).
Western art unattributed:
8. Border segment from window depicting Parable of Lazarus and the Rich Man, Poitiers Cathedral, bay 112. c.1200–25. Stained glass. (Photograph Painton Cowen).
Western art unattributed:
9. Twelfth-century border designs from Saint-Denis. (From L. Grodecki: Les Vitraux de Saint-Denis: Étude sur le vitrail au XIIe siècle (Corpus Vitrearum, France, Série Études I), Paris 1976, p.129).
Exhibition Review
Architecture Biennale
11/2023 | 1448 | 165
Pages: 1220-1223
related names
Reviewer:
Croft, Catherine (Croft, Catherine)
Subjects
artists:
dates:
Reviewed Items
subjects:
Architecture Biennale Various locations, Venice 20th May–26th November | :
Illustrations
Attributed works:
1. Installation view of The Laboratory of the Future, Arsenale, Venice, 2023. (Courtesy La Biennale di Venezia; photograph Andrea Avezzù).
Attributed works:
2. Installation view of The Laboratory of the Future, Arsenale, Venice, 2023. (Courtesy La Biennale di Venezia; photograph Andrea Avezzù).
Attributed works:
3. Installation view of The Laboratory of the Future, Giardini, Venice, 2023. (Courtesy La Biennale di Venezia; photograph Matteo de Mayda).
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)
Subjects
art literature:
Reviewed Items
subjects:
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).
Exhibition Review
Jannis Kounellis in Six Acts
04/2023 | 1441 | 165
Pages: 451-452
related names
Reviewer:
Silberman, Robert (Silberman, Robert; Silberman, Robert B.)
Subjects
dates:
Reviewed Items
subjects:
Jannis Kounellis in Six Acts Museo Jumex, Mexico City 1st April–17th September | :
Illustrations
Attributed works:
17. Installation view of Jannis Kounellis in Six Acts at the Walker Art Center, Minneapolis, 2022–23, showing Untitled. 1996. Enamel on canvas, each 200 by 180 by 4 cm. (Private collection; courtesy Walker Art Center, Minneapolis; photograph Eric Mueller).
Attributed works:
18. Lunedì Martedì Mercoledì (Monday Tuesday Wednesday), by Janis Kounellis. 1963. Oil on canvas, 179.7 by 224.8 cm. (Private collection; exh. Walker Art Center, Minneapolis).
Attributed works:
19. Untitled, by Jannis Kounellis. 1972. Performed at Sonnabend Gallery, New York, in 1972. (Artists Rights Society, New York, and SIAE, Rome; Sonnabend Collection Foundation; courtesy Estate of Jannis Kounellis; photograph Claudio Abate).
Attributed works:
20. Installation view of Jannis Kounellis in Six Acts at the Walker Art Center, Minneapolis, 2022–23, showing on the left Untitled. 1982. Feather River travertine, cast plaster and steel, 251.5 by 149.9 by 30.5 cm. and on the right Untitled. 1974. Wood, marble, plaster and oil lamp, 127 by 194.9 by 77.2 cm. (Courtesy Walker Art Center, Minneapolis; photograph Eric Mueller).
Exhibition Review
Carolee Schneemann: Body Politics. Barbican Art Gallery, London
12/2022 | 1437 | 164
Pages: 1264-1267
related names
Reviewer:
Spencer, Catherine (Spencer, Catherine)
Subjects
dates:
Reviewed Items
subjects:
Carolee Schneemann: Body Politics Barbican Art Gallery, London 8th September 2022– 8th January 2023 | :
Illustrations
Attributed works:
1. Up to and including her limits, by Carolee Schneemann. Performed at Studiogalerie, Berlin, 1976. (© Carolee Schneemann Foundation, New York, ARS, New York and DACS, London; courtesy Getty Research Institute, Los Angeles; photograph Henrik Gaard; exh. Barbican Art Gallery, London).
Attributed works:
2. From the series Eye body: 36 transformative actions for camera, by Carolee Schneemann. 1963, printed 2005. Gelatin silver print, 61 by 50.8 cm. (© Carolee Schneemann Foundation, New York, ARS, New York, and DACS, London; courtesy Carolee Schneemann Foundation, New York, Galerie Lelong & Co., Paris, Hales Gallery, London, and P.P.O.W, New York; photograph Erró; exh. Barbican Art Gallery, London).
Attributed works:
3. Wedding, by Carolee Schneemann. 1960. Oil, gouache, chalk, ink, graphite and collage on paper, 62.9 by 78.1 cm. (© Carolee Schneemann Foundation, New York; exh. Barbican Art Gallery, London).
Attributed works:
4. More wrong things, by Carolee Schneemann. 2000. Multichannel video installation with suspended cable environment, dimensions variable. (Photograph Marcus J. Leith; exh. Barbican Art Gallery, London).
Exhibition Review
William Kentridge. Royal Academy of Arts, London
12/2022 | 1437 | 164
Pages: 1287-1289
related names
Reviewer:
Seligman, Isabel (Seligman, Isabel)
Subjects
dates:
places:
Reviewed Items
subjects:
William Kentridge Royal Academy of Arts, London 24th September–11th December | :
Illustrations
Attributed works:
30. Black box / Chambre noire, by William Kentridge. 2005. Animated 35 mm film transferred to video, projected front and back onto model theatre with drawings and mechanical puppets, duration 22 minutes, object 360 by 200 by 139.5 cm. (© William Kentridge; Louisiana Museum of Modern Art, Humlebæk; courtesy Royal Academy of Arts, London; photograph David Parry; exh. Royal Academy of Arts, London).
Attributed works:
31. The conservationists’ ball, by William Kentridge. 1985. Charcoal, coloured pastel and gouache on paper (triptych), 198.5 by 97.5 cm (left), 198.5 by 138.5 cm (centre) and 198.5 by 97.5 cm (right). (© William Kentridge; Rupert Museum, Stellenbosch; exh. Royal Academy of Arts, London).
Attributed works:
32. Still from Notes towards a model opera, by William Kentridge. 2015. Three-channel HD film, duration 11 minutes 14 seconds. (© William Kentridge; courtesy the artist; exh. Royal Academy, London).
Exhibition Review
Cornelia Parker
09/2022 | 1434 | 164
Pages: 929-931
related names
Reviewer:
Lloyd, Kathryn (Lloyd, Kathryn)
Subjects
artists:
dates:
museums and institutions:
Reviewed Items
subjects:
Cornelia Parker Tate Britain, London 19th May–16th October | :
Illustrations
Attributed works:
(Jerusalem), by Cornelia Parker. 2012. Chromogenic print, 50 by 35 cm. (Private collection; courtesy the artist and Frith Street Gallery, London; photograph Steve White; exh. Tate Britain, London).
Attributed works:
29. Cold dark matter: an exploded view, by Cornelia Parker. 1991. Wood, metal, plastic, ceramic, paper, textile and wire, 400 by 500 by 500 cm. (Tate; exh. Tate Britain, London; photograph Oli Cowling).
Attributed works:
31. Embryo firearms, by Cornelia Parker. 1995. Two colt 45 guns in the earliest stage of production, each 19 by 13 by 2.4 cm. (Private collection; courtesy the artist and Frith Street Gallery, London; exh. Tate Britain, London).
Exhibition Review
Terrible Beauty: Elephant – Human – Ivory
11/2021 | 1424 | 163
Pages: 1061-1063
related names
Reviewer:
Vogt, Robert J. (Vogt, Robert J.)
Subjects
dates:
museums and institutions:
Reviewed Items
subjects:
Terrible Beauty: Elephant – Human – Ivory Humboldt Forum, Berlin 20th July–28th November | :
Illustrations
Attributed works:
6. Jewellery box. Ceylon, 16th century. Ivory with metal fittings, height 10.2 cm. (Museum für Asiatische Kunst, Staatliche Museen zu Berlin; exh. Humboldt Forum, Berlin; photograph Jürgen Liepe).
Attributed works:
7. Mammoth. 35,000 BC. Ivory, length 3.7 cm. (Archäopark Vogelherd, Archäologisches Landesmuseum Baden- Württemberg; exh. Humboldt Forum, Berlin; photograph Manuela Schreiner).
Attributed works:
8. Installation view of Terrible Beauty: Elephant – Human – Ivory at the Humboldt Forum, Berlin, 2021. (Photograph Robert Vogt).
Exhibition Review
Slavery: Ten True Stories
08/2021 | 1421 | 163
Pages: 750-752
related names
Reviewer:
Hoijtink, Mirjam (Hoijtink, Mirjam)
Subjects
dates:
museums and institutions:
Reviewed Items
subjects:
Slavery: Ten True Stories Rijksmuseum, Amsterdam 19th May–29th August | :
Illustrations
Attributed works:
18. Branding iron with the letters ‘GWC’. Steel, 3.7 by 2.2 cm. (De Nederlandsche Bank, National Numismatic Collection, Amsterdam; exh. Rijksmuseum, Amsterdam).
Attributed works:
19. Map of Suriname, by Alexander de Lavaux. 1737. Silk, 186.5 by 215.5 cm. (Rijksmuseum, Amsterdam).
Attributed works:
20. Detail of Fig.19, showing Maroons being forced from their settlements.
Attributed works:
21. Installation view of Slavery: Ten True Stories at the Rijksmuseum, Amsterdam, 2021, showing Blue beads from Sint Eustatius. 18th– 19th century. Glass, various dimensions. (Private collection).
Exhibition Review
Isa Genzken: Works from 1973 to 1983
07/2021 | 1420 | 163
Pages: 629-631
related names
Reviewer:
Parkes, Isabel (Parkes, Isabel)
Subjects
artists:
dates:
Reviewed Items
subjects:
Isa Genzken: Works from 1973 to 1983 K21, Kunstsammlung Nordrhein- Westfalen, Düsseldorf 8th May–5th September | :
Illustrations
Attributed works:
17. Installation view of Isa Genzken, Works from 1973 to 1983 at K21, Kunstsammlung Nordrhein- Westfalen, Düsseldorf, 2021 (photograph Achim Kukulies).
Attributed works:
18. Still from Zwei Frauen im Gefecht (Two women in combat), by Isa Genzken. 1974. 16 mm film transferred to video, duration 7 minutes 40 seconds. (Courtesy Galerie Buchholz, Berlin, Cologne and New York).
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