Add to ORKGDikeakos mentions myth memory and fantasy as influences on her prints, while Sen refers to the synthesis of socio-historical concepts and personal ideas. Biographical notes
Dikeakos analyses Kaplan's juxtaposition of photographs of graffiti and art historical images, notin...
Farr describes Dickson's prints as combining romantic, realist and symbolist tendencies which combin...
The drawings of Moodie produced between 1984 and 1986 are described by McKaskell as cacophonous, dis...
Dikeakos mentions myth memory and fantasy as influences on her prints, while Sen refers to the synth...
Holmes locates the sources of Dikeakos' hand-coloured etchings in autobiography, literature and fant...
Lindberg claims that Dikeakos's work from 1982 to 1984, uses narrative structures to evoke a mythic ...
Watson traces Dikeakos' work from 1971 to 1985, noting the development from a subversive interventio...
The artist traces the progression of her production and the correlations to her study of Buddhism an...
While Démidoff-Séguin briefly demonstrates how her research in drawing is in continuity with her wor...
Gurney comments briefly on the development of her artistic practice, which centres on the notion of ...
On the occasion of the first exhibition of a trilogy that focuses on the representation of the human...
This richly illustrated book documenting Thai artist Rawanchaikul’s solo and collaborative projects ...
Describing several of McKeough's series of print, drawings and installations, Laviolette analyses th...
Nowlin's essay on Lannoo's paintings focuses on the tension between representation and abstraction c...
This research represents a watershed in an extended artistic career and, for that reason, the early ...
Dikeakos analyses Kaplan's juxtaposition of photographs of graffiti and art historical images, notin...
Farr describes Dickson's prints as combining romantic, realist and symbolist tendencies which combin...
The drawings of Moodie produced between 1984 and 1986 are described by McKaskell as cacophonous, dis...
Dikeakos mentions myth memory and fantasy as influences on her prints, while Sen refers to the synth...
Holmes locates the sources of Dikeakos' hand-coloured etchings in autobiography, literature and fant...
Lindberg claims that Dikeakos's work from 1982 to 1984, uses narrative structures to evoke a mythic ...
Watson traces Dikeakos' work from 1971 to 1985, noting the development from a subversive interventio...
The artist traces the progression of her production and the correlations to her study of Buddhism an...
While Démidoff-Séguin briefly demonstrates how her research in drawing is in continuity with her wor...
Gurney comments briefly on the development of her artistic practice, which centres on the notion of ...
On the occasion of the first exhibition of a trilogy that focuses on the representation of the human...
This richly illustrated book documenting Thai artist Rawanchaikul’s solo and collaborative projects ...
Describing several of McKeough's series of print, drawings and installations, Laviolette analyses th...
Nowlin's essay on Lannoo's paintings focuses on the tension between representation and abstraction c...
This research represents a watershed in an extended artistic career and, for that reason, the early ...
Dikeakos analyses Kaplan's juxtaposition of photographs of graffiti and art historical images, notin...
Farr describes Dickson's prints as combining romantic, realist and symbolist tendencies which combin...
The drawings of Moodie produced between 1984 and 1986 are described by McKaskell as cacophonous, dis...