Showing papers on "Exhibition published in 1969"
TL;DR: A brief profile of the Russian engineer, architect, and artist accompanied paintings, book illustrations, typography, exhibition designs, photographs, and architectural projects he created is given in this article.
Abstract: A brief profile of the Russian engineer, architect, and artist accompanies paintings, book illustrations, typography, exhibition designs, photographs, and architectural projects he created.
22 citations
TL;DR: The catalog of an exhibition to be held at the Fogg Art Museum, Dec. 4, 1967 - Jan. 23, 1968, City Art Museum of Saint Louis, Mar. 1-Apr. 13, 1968 and the Los Angeles County Museum of Art, May 8 - June 30, 1968 as discussed by the authors.
Abstract: Catalog of an exhibition to be held at the Fogg Art Museum, Dec. 4, 1967 - Jan. 23, 1968, City Art Museum of Saint Louis, Mar. 1-Apr. 13, 1968, and the Los Angeles County Museum of Art, May 8 - June 30, 1968.
15 citations
Book•
01 Jan 1969
4 citations
TL;DR: At the exhibition supporting Ultrasonics for Industry 1968, there were nineteen manufacturers of equipment for ultrasonics scientists and engineers in industry and medicine as mentioned in this paper, and the number of visitors more than justified the two-day exhibition which will be repeated on 7, 8 October 1969 at St. Ermin's Hotel, London.
3 citations
TL;DR: In 1968, at considerable expense, both real and through contributions of effort and material, the Nelson Gallery-Atkins Museum originated, in Kansas City, Missouri, a production-exhibition entitled "The Magic Theater" as mentioned in this paper.
Abstract: In 1968, at considerable expense, both real and through contributions of effort and material, the Nelson Gallery-Atkins Museum originated, in Kansas City, Missouri, a production-exhibition entitled “The Magic Theater.” Thousands attended the two “runs” of the production in Kansas City,1 and subsequently the exhibit was presented at the art museums of St. Louis and of Toledo, Ohio. I think it is safe to say that this exhibition-event will remain a major experience in the memory of many.
2 citations
2 citations
Book•
01 Jan 1969
2 citations
Book•
01 Jan 1969
2 citations
Book•
01 Jan 1969
TL;DR: Borcoman situates Roberts' work; Ayre provides a biographical sketch of the painter; and Pinsky elaborates on formal and thematic elements in the artist's work as mentioned in this paper.
Abstract: Borcoman situates Roberts' work; Ayre provides a biographical sketch of the painter; and Pinsky elaborates on formal and thematic elements in the artist's work. Includes a reprinted statement by Roberts. Biographical notes. Circa 60 bibl. ref.
Book•
01 Jan 1969
TL;DR: The sculptural traditions of sub-Saharan Africa have become accepted as an important part of the responsibility of the scholar and of the museum desiring to underscore the breadth and history of the artistic traditions of the world as discussed by the authors.
Abstract: Fortunately it is no longer necessary to justify an exhibition of the sculpture of sub-Saharan Africa. The sculptural traditions of that sub-continent have become accepted as an important part of the responsibility of the scholar and of the museum desiring to underscore the breadth and history of the artistic traditions of the world. Far from primitive, African sculpture represents a series of complex and often highly developed traditions whose meanings and histories are beginning to emerge.
Book•
01 Jan 1969
Book•
01 Jan 1969
Book•
01 Jan 1969
Book•
01 Jan 1969
TL;DR: It is surprising that the author of the article seems so well pleased with the general state of bibliographical services for art and that he is apparently not aware of a major missing link in the bibliographic chain spanning the field.
Abstract: NOT LONG AGO, in an article dealing with \"Bibliographical Organization in the Humanities,\" Conrad Rawski quoted from Brunetiere these words of wisdom: \"Qui scit ubi scientia sit, ille est proximus habenti.\"1 The simple truth of this dictum will certainly not be contested by scholars or by reference librarians, but what surprises the reader of the article is that its author seems so well pleased with the general state of bibliographical services for art and that he is apparently not aware of a major missing link in the bibliographical chain spanning the field. Professor Rawski, who is a teacher and not a practicing librarian, can be forgiven for his lack of consciousness of where the shoe pinches art librarians, bibliographically speaking. Others who are closer to the firing line have felt that pinch for several years. James Humphry III, until recently Chief Librarian of the Metropolitan Museum of Art, has pointed a finger at this crucial information gap in a special ,issue