Add to ORKG‘Constable’ was a solo show of approximately 50 black and white and colour landscape photographs exh...
In his essay, featured in the catalogue of The Painting Show, art historian John-Paul Stonard uses t...
A few days before the opening of the exhibition on Edward Burne-Jones, Tate Britain released a tanta...
This solo exhibition of forty new works was held at Thompsons Gallery, London, who produced the acco...
This solo exhibition of thirty new works was held at Ainscough Contemporary Art, London, who produce...
Beginning with Thomas Gainsborough’s 1750 painting of Mr. and Mrs. Andrews, Gonczarow re-imagines an...
A review of Michael Stevenson's exhibition 'Signs and Wonders' at Carl Freedman Gallery London, publ...
This keywork essay is included in the catalogue accompanying the exhibition, Conceptual Art in Brita...
Catalogue Essay for the exhibition of paintings by John Wilkins at Turps Gallery 12a -13a Taplow, Th...
The ‘Mr A’ of the exhibition title is, of course, Edward Adamson himself and taken from a picture do...
This solo exhibition was developed through Pratt’s AHRC Fellowship entitled ‘Blind Faith - Exploring...
The new museum and art gallery in Hastings has played to its strengths by telling the stories of key...
Review of the exhibition 'William Daniels' on show at the Vilma Gold gallery in London (24 November ...
We all remember where we were when some world events happened. As news of them arrives we pause, lis...
During his lifetime Adrian Morris (1929–2004) had one major exhibition. In 1978 as part of the Haywa...
‘Constable’ was a solo show of approximately 50 black and white and colour landscape photographs exh...
In his essay, featured in the catalogue of The Painting Show, art historian John-Paul Stonard uses t...
A few days before the opening of the exhibition on Edward Burne-Jones, Tate Britain released a tanta...
This solo exhibition of forty new works was held at Thompsons Gallery, London, who produced the acco...
This solo exhibition of thirty new works was held at Ainscough Contemporary Art, London, who produce...
Beginning with Thomas Gainsborough’s 1750 painting of Mr. and Mrs. Andrews, Gonczarow re-imagines an...
A review of Michael Stevenson's exhibition 'Signs and Wonders' at Carl Freedman Gallery London, publ...
This keywork essay is included in the catalogue accompanying the exhibition, Conceptual Art in Brita...
Catalogue Essay for the exhibition of paintings by John Wilkins at Turps Gallery 12a -13a Taplow, Th...
The ‘Mr A’ of the exhibition title is, of course, Edward Adamson himself and taken from a picture do...
This solo exhibition was developed through Pratt’s AHRC Fellowship entitled ‘Blind Faith - Exploring...
The new museum and art gallery in Hastings has played to its strengths by telling the stories of key...
Review of the exhibition 'William Daniels' on show at the Vilma Gold gallery in London (24 November ...
We all remember where we were when some world events happened. As news of them arrives we pause, lis...
During his lifetime Adrian Morris (1929–2004) had one major exhibition. In 1978 as part of the Haywa...
‘Constable’ was a solo show of approximately 50 black and white and colour landscape photographs exh...
In his essay, featured in the catalogue of The Painting Show, art historian John-Paul Stonard uses t...
A few days before the opening of the exhibition on Edward Burne-Jones, Tate Britain released a tanta...