Hardcover catalog produced by the Metropolitan Museum of Art, text by Richard Shone. Philip and Janice Levin assembled a remarkable collection, primarily of paintings but also of works on paper and small bronzes, all by French artists or artists working in France between 1840 - 1954. 115 illustrations, including 50 colorplates, bibliography, index.
For Phoebe Washburn's Faulconer Gallery installation in the summer of 2003, she recycled pieces used from a previous installation. Washburn created a 14-foot tall and 95-foot long curved wall using only small cardboard pieces, drywall screws, and the help of volunteers. To Washburn, her art breaks down the elements of construction to the most basic form. In her words, the process and completed object is so dumb - yet hopefully something amazing emerges from it. 2003.
Essays by Pamela Franks and Dave Williams, interview with the artist by Saadi A. Simawe. Checklist, biography, chronology, 41 color plates, 6 bl/wh photographs of the artist.
Combining traditional printmaking techniques with unique paper shapes, stamping and collage, Achepohl creates layered images that have an even more powerful effect in their unique installation. Achepohl, professor of printmaking at the University of Iowa, sees himself not only as a printmaker, but also a gardener and beachcomber. As a result of these roles and interests, Achepohl's work conveys a mood of reflection and contemplation. Images in the catalog include installation views in the Faulconer Gallery. Essays by Lesley Wright and Antonio Damasio.
Inspired by the end of the Soviet occupation in 1994, Kay Wilson, Curator of the Print and Drawing Study Room, and John Mohan, Professor of Russian, traveled to Estonia to discover art that reflected major social and political change. They found art inspired by Estonian history and landscape indicating a powerful national renewal. The exhibition and catalogue represent the works of 17 Estonian artists and one artist collective, Studio 22, through individual biographies and color reproductions.
Curated by twelve students and Assoc. Professor fo Art, Susan Strauber, this catalog is the product of a semester-long seminar culminating in a four-week exhibition. The catalog includes eight essays by the student curators, a timeline of Goya's life and current events, and a selected bibliography. Essays are illustrated with 30 bl/wh reproductions. Checklist contains thumbnail images of all 80 prints.
As part of the Exhibition Seminar course offered at Grinnell College, fourteen students worked with guest curator Victoria Rovine to organize the exhibit and write the catalog. The catalog provides information on sculptures, masks, drums, and other objects from the college's permanent collection that were used for this exhibit.
Written and organized by Emil Stamey '01, this catalog represents one of the few comprehensive examinations Gross-Bettelheim. The exhibition was held in Grinnell College's Print and Drawing Study Room. Essays include: artist biography, Architectural Images, Social and Political Images, and A Shift in Style. Twelve images accompany the text. 2001.
Curious about the state of modern sculpture, and specifically organic forms in sculpture, this exhibition invites exploration into a transformation of forms. Curator Lesley Wright writes in the introduction, Nature persists but in various states depending on the particular human filters applied by the artist. In our virtual world, it is the energy of nature that continues to fascinate, and it's the aspect that these sculptors, as creators, continue to try to harness. After all, without energy inside, there is no life.