Catalogues for art or museum exhibitions may range in scale from a single printed sheet to a lavish hardcover "coffee table book". The advent of cheap colour-printing in the 1960s transformed what had usually been simple "handlists" with several works to each page into large scale "descriptive catalogues" that are intended as both contributions to scholarship and books likely to appeal to many general readers. The catalogues for exhibitions held at a museum are now often far more detailed than the catalogues of their permanent collections.
In the early 21st century, exhibitions that gather items from other institutions (museums, galleries, libraries, etc.) and that are elaborately publicized very often have catalogues in the form of substantial books.
Book-sized exhibition catalogues in the West typically have a colour photograph of every item on display, and also of other relevant works not in the exhibition (these usually smaller and often in black and white). There will be a short formal catalogue description of each item, and usually interpretative text often amounting to one or more pages. The resulting book will have at least one introductory essay, often several, footnotes, bibliography and other critical apparatus. It is usually only in the language of the location, although if the exhibition is travelling internationally, local translated editions will be produced for each location. The book may be published by the institution that hosts the exhibition (or one of these institutions), but is distributed by and often co-published with a larger publisher. It will not dwell on the fact that it is the catalogue of a particular exhibition, and often will not contain a plan of the exhibition. Visitors to the exhibition will anyway know this, and the intention - often successful - is to create a book which has a permanent usefulness. Nearly all are produced in paperback; a hardback edition is a sign of serious intentions. Most major catalogues are sold in at least some bookshops, and are available for order more widely through the booktrade. Many receive specific sponsorship to finance them, and usually a number of authors contribute.
In recent decades, exhibition catalogues have grown to prodigious sizes and may be the most comprehensive sources for even rather large subject areas. Probably the largest to be produced were in the 1970s in a competitive spree by Italian provinces and German lander to promote the significance of their region by mounting huge exhibitions on the period when its cultural production was at its peak. A typical example is the three-volume Die Parler und der schöne Stil 1350-1400. Europäische Kunst unter den Luxemburgern from Cologne of 1978, with a further two volumes published in 1980 on a colloquium held in conjunction with the exhibition. The three volumes covering the exhibition proper amount to over a thousand pages and it would have been unfeasible to have taken them into the exhibition itself. Another example is The History of Japanese Photography, 432 pages long and with over four hundred plates.
Japanese exhibition catalogues often provide captions, a certain amount of text, or both in a second language (usually English), and occasionally also a smaller amount in a third language. This is not always so: the large catalogue (over 360 pages) for a major exhibition of the wood-block artist Yasunori Taninaka is in Japanese alone. Meanwhile, Works by 25 Photographers in their 20s is completely bilingual, Japanese and English.
The great majority of Japanese exhibition catalogues are only available directly from the galleries or museums that host or hosted the exhibitions. These catalogues are acquired and shelved by libraries together with other books and are available on the used book market, but lack ISBNs. However, exceptions do exist: the catalogue of an exhibition of the photographs of Nakaji Yasui was produced via an independent publisher and distributed as a regular book.
Exhibition catalogues are used at commercial exhibitions and trade fairs to profile all the exhibitors at the event. They serve not only as a guide for visitors on the day, but also as an industry directory used afterwards by visitors (and others) to find suppliers and business partners.
Many exhibition catalogues are used by market researchers because they contain good quality information about companies that are active in a particular market place.
A typical exhibition catalogue contains the following:
The format of exhibition catalogues for trade fairs can range from A5-sized ‘saddle-stitched’ publications with descriptions of as few as 30-40 exhibitors, to much larger perfect-bound ‘stretched A5’ or A4-sized directories containing profiles on thousands of companies exhibiting at major international trade events such as The London Book Fair, SIAL (the Paris-based food exhibition), and Nuremberg International Toy Fair (Spielwarenmesse).
The exhibition organiser is ultimately responsible for publishing the catalogue for their own event. However, many organisers outsource the design, production and advertising sales for these publications to specialist exhibition catalogue contract publishers operating within the exhibitions industry.
Other common terms to describe the exhibition catalogue at a trade fair include 'event guide', 'show guide', 'show catalogue', 'exhibition directory', 'fair guide' or 'exhibition guide'. Often exhibition organisers will add the word 'official' to the front of the name of the publication (e.g. 'Official exhibition catalogue') to distinguish their publication from unofficial exhibition catalogues for their event produced by trade magazine publishers.
The year 1956 was marked by many events that left an imprint on the history of Soviet and Russian Fine Arts.1961 in fine arts of the Soviet Union
The year 1961 was marked by many events that left an imprint on the history of Soviet and Russian Fine Arts.Andreas Gursky
Andreas Gursky (born 15 January 1955) is a German photographer and professor at the Kunstakademie Düsseldorf, Germany.He is known for his large format architecture and landscape colour photographs, often employing a high point of view.
Gursky shares a studio with Laurenz Berges, Thomas Ruff and Axel Hütte on the Hansaallee, in Düsseldorf. The building, a former electricity station, was transformed into an artists studio and living quarters, in 2001, by architects Herzog & de Meuron, of Tate Modern fame. In 2010-11, the architects worked again on the building, designing a gallery in the basement.Anna Kostrova
Anna Alexandrovna Kostrova (Russian: А́нна Алекса́ндровна Костро́ва; November 22, 1909, village Belostok, Omsk Province, Russian Empire – 1994, Saint Petersburg, Russian Federation) was a Russian Soviet realist painter, graphic artist, and book illustrator, who lived and worked in Leningrad. She was a member of the Leningrad Union of Artists, regarded as a representative of the Leningrad school of painting.Boris Lavrenko
Boris Mikhailovich Lavrenko (Russian: Бори́с Миха́йлович Лавре́нко; 6 May 1920, Rostov-on-Don, Soviet Russia – 7 June 2001, Saint Petersburg, Russian Federation) was a Russian Soviet realist painter, People's Artist of the Russian Federation, professor of the Leningrad Institute of Painting, Sculpture and Architecture named after Ilya Repin, who lived and worked in Saint Petersburg (former Leningrad), regarded as one of the major representatives of the Leningrad school of painting.Cornflowers (painting)
Cornflowers is a painting by the Russian artist Sergei Ivanovich Osipov (1915–1985), executed in 1976 and related to his most famous works in the genre of still life.Dmitry Maevsky
Dmitry Ivanovich Maevsky (Russian: Дми́трий Ива́нович Мае́вский; May 17, 1917, Petrograd, Russian Empire – July 23, 1992, Saint Petersburg, Russia) was a Soviet Russian painter, lived and worked in Leningrad, a member of the Leningrad Union of Artists, regarded as one of representatives of the Leningrad school of painting, most famous for his lyrical landscapes.Elena Kostenko
Elena Mikhailovna Kostenko (Russian: Еле́на Миха́йловна Косте́нко; 9 August 1926, Leningrad, USSR) is a Soviet Russian painter, living and working in Saint Petersburg, a member of the Saint Petersburg Union of Artists (before 1992 the Leningrad branch of Union of Artists of Russian Federation), regarded as one of the major representatives of the Leningrad school of painting, most famous for her portrait paintings.Elena Skuin
Elena Petrovna Skuin (Russian: Еле́на Петро́вна Скуи́нь, April 2, 1908, Ekaterinodar, Russian Empire – 1986, Leningrad, USSR) was a Soviet, Russian – Latvian painter, watercolorist, graphic artist, and art teacher, lived and worked in Leningrad, a member of the Leningrad Union of Artists, regarded as one of representatives of the Leningrad school of painting, most famous for her still life painting.Gevork Kotiantz
Gevork Vartanovich Kotiantz (Armenian: Գևորգ Վարդանի Կոթյանց; Russian: Гево́рк Варта́нович Котья́нц; November 12, 1909 in Shusha, Elisabethpol Governorate, Russian Empire – August 28, 1996 in Saint Petersburg, Russia ) was a Soviet, Russian - Armenian painter, lived and worked in Leningrad, regarded as one of representatives of the Leningrad school of painting.Gleb Savinov
Gleb Alexandrovich Savinov (Russian: Гле́б Алекса́ндрович Сави́нов; September 27, 1915, Natalievka, Kharkov Governorate, Russian Empire – November 5, 2000, Saint Petersburg, Russia) was a Soviet, Russian painter and Art teacher, Honored Artist of Russian Federation, who lived and worked in Leningrad and regarded as one of the leading representatives of the Leningrad school of painting, most famous for his genre and portrait painting.Hanne Darboven
Hanne Darboven (29 April 1941 – 9 March 2009) was a German conceptual artist, best known for her large-scale minimalist installations consisting of handwritten tables of numbers.Ivan Lavsky
Ivan Ivanovich Lavsky (Russian: Ива́н Ива́нович Ла́вский; Ukrainian: Іва́н Іва́нович Ла́вський August 23, 1919, city of Dnipropetrovsk, Ukraine Soviet Republic – October 10, 1977, Leningrad, USSR) was a Soviet realist painter and graphic artist, born in Ukraine who after World War II lived and worked in Leningrad. He was a member of the Leningrad Union of Artists and regarded as one of representatives of the Leningrad School of Painting.Malaya Sadovaya (painting)
Malaya Sadovaya Street is a 1979 oil painting by the Russian artist Alexander Semionov, depicting Malaya Sadovaya Street in Leningrad on rainy day of the end of the 1970s. This cityscape was painted in traditions of the Leningrad School of Painting and Soviet figurative painting of late socialist realism with their typical synthesis of realistic and impressionistic traditions to create an image of modernity.Mikhail Natarevich
Mikhail Davidovich Natarevich (Russian: Михаи́л Дави́дович Натаре́вич; September 29, 1907 in Vitebsk, Russian Empire – February 23, 1979 in Leningrad, USSR) was a Soviet, Russian painter who lived and worked in Leningrad; he was a member of the Leningrad Union of Artists, and was regarded as one of the brightest representatives of the Leningrad School of Painting.Ronnie Landfield
Ronnie Landfield (born January 9, 1947) is an American abstract painter. During his early career from the mid-1960s through the 1970s his paintings were associated with Lyrical Abstraction, (related to Postminimalism, Color Field painting, and Abstract expressionism), and he was represented by the David Whitney Gallery and the André Emmerich Gallery.
Landfield is best known for his abstract landscape paintings, and has held more than seventy solo exhibitions and more than two hundred group exhibitions. In 2011 he was described by the LewAllen Gallerie as "at the forefront of contemporary art...one of the best painters in America."Spring Day (painting)
Spring Day (Russian: Весенний день (картина Н. Позднеева) is a painting by the well-known Russian artist Nikolai Matveevich Pozdneev (1930–1978). It attempts to convey the mood of Soviet society of the late 1950s to the early 1960s.Vladimir Gorb
Vladimir Alexandrovich Gorb (Russian: Влади́мир Алекса́ндрович Го́рб; December 31, 1903, Odessa, Russian Empire – October 20, 1988, Leningrad, USSR) was a Soviet Russian painter, graphic artist, and art teacher. He lived and worked in Leningrad as professor of the Repin Institute of Arts, was awarded the title of Honored Art Worker of Russian Federation, and was member of the Leningrad branch of Union of Artists of Russian Federation. He is regarded as a representative of the Leningrad school of painting, most famous for his portrait paintings and Art teaching.William Nicholson (artist)
Sir William Newzam Prior Nicholson (5 February 1872 – 16 May 1949) was a British painter of still-life, landscape and portraits. He also worked as a wood-engraver and lithographer, as an illustrator, as an author of children's books and as a designer for the theatre.