Papers, articles and essays

‘Between a rock and a hard place’. Exhibition review of the works of Giovanni Anselmo at Marian Goodman, London, England. For Wall Street International, July 3, 2017.

‘Art at Velocity’. Exhibition review of the works of Lance Wyman and Eduardo Paolozzi at Bloomberg Space, London, England. For Wall Street International, June 3, 2017.

‘Colour me Bad’. An interview with Carolyn Christov-Bakargiev about the ‘Colori‘ exhibition at Castello di Rivoli / Museo d’Arte Contemporanea in Rivoli, Italy. For Wall Street International, May 3, 2017.

‘Art Money, Smart Money’. Market report on global sales trends in global sales through auction houses and international art fairs. For Wall Street International, April 3, 2017.

‘Colori’. Exhibition review, Castello di Rivoli / Museo d’Arte Contemporanea in Rivoli, Italy.  For Wall Street International, March 3, 2017.

‘Emotional Rescue’, Review of the ‘Architectural Rescue’ exhibition of James Casabere at Sean Kelly, New York, New York, USA.  For Wall Street International, February 3, 2017.

‘Naufragio con Spettatore’ (‘A shipwreck with Spectators’). Article on the works of Claudio Parmiggiani at La Chiesa di San Marcellino, Parma, Italy. For Wall Street International, January 3, 2017.

‘Laughing but not cavalier’. Notes on the work and wisdom of Hans-Peter Feldmann. For Wall Street International, December 3, 2017.

‘Consummate and quintessential’. Exhibition review of Nigel Hall at Annely Juda , London. For Wall Street International, November 3, 2016.

‘Shadows of the Wanderer’. Exhibition review of Ana-Maria Pacheco at Chichester Cathedral , Chichester. For Wall Street International, October 3, 2016.

‘Too much, too young’. Exhibition review of Christopher Wood at Pallant House Gallery, Chichester. For Wall Street International, September 3, 2016.

‘Exhibitions and Existentialism: What Makes a Great Art Show?’. Short essay regarding curation, exhibitions and their extraordinary history. For Wall Street International, August 3, 2016.

‘In a dream you saw a way to survive and you were full of joy: Elizabeth Price Curates’. Exhibition review, Whitworth, Manchester for Wall Street International, July 3, 2016.

‘Street Art. Banksy and Co.’ at Palazzo di Pepoli, Bologna.  Exhibition review of art in its displaced urban form in the food capital of Italy.  For Wall Street International, June 3, 2016.

Jeff Zilm: ‘Some Screen Mods’ / ‘Something to See Here’.  Exhibition review of Jeff Zilm at Simon Lee Gallery, London. (3 March 2016-1 April 2016) for Wall Street International, March 3, 2016.

‘Heavenly Bodies’  Short essay on Calder’s ‘Performing Sculpture’ show at Tate Modern (11 November 2015-3 April 2016) for Wall Street International, January 3, 2016.

‘Contemporary Art, Activism and Social Crisis in Japan’, Echigo-Tsumari, Setouchi and Beyond’, Presenter and panel member at International Conference sponsored by the Sainsbury Institute for the Study of Japanese Arts And Cultures; The Cathedral Hostry, Norwich 3 – 4 December 2015.

‘Debugged and debunked; curatorial myths and mysteries explored’, For Norfolk Contemporary Art Society; The Forum, Norwich November 11, 2015

‘Brains, Stains and Automobiles’ Some thoughts on the collision of the British Art Show 8 with Paul Neagu’s ‘Palpable Sculpture in Leeds; For Wall Street International November 3, 2015

’MAMbo Italiano?’ Musings on Giorgio Morandi at Museum of Modern Art, Bologna, Italy; For Wall Street International October 3, 2015

‘Ruff with the smooth: ‘Nature Morte”: review of recent works by Thomas Ruff at Gagosian, London: For Wall Street International September 3, 2015

‘The Most Bearable Being of Lightness’: review of recent works by James Turrell at Houghton Hall, Norfolk, England. for Wall Street International, August 3, 2015

‘Another Orient’, catalogue essay; ‘Will Teather’, Arts Council England, ISBN 978-1-32-057502-7 83pp, pp56-69 (First printing July 2015) 

‘Cracked Actors’: review of recent works by David Hockney at Annely Juda Fine Art, London and L.A. Louver, LA, USA for Wall Street International, July 3, 2015

‘Höller from the Rooftops’, interview with Ralph Rugoff on Carsten Höller’s ‘Decision’ at the Hayward gallery, London, for Wall Street International, June 3, 2015

‘Jeff Koons is Dead, Long live Jeff Koons’, review of Koons’ Artists Rooms show at the Castle Museum Norwich, for Wall Street International, May 3, 2015.

‘The Artist as Collector’, review of ‘Magnificent Obsessions’ exhibition, Barbican Centre, London, for Wall Street International, April 12, 2015.

Concrete Poetry and Conceptual Art, FLUXUS Heidelberg Center, Breda, Netherlands (2014)

‘Dry Salvages: art as language/word as image’, based on the works of T.S. Eliot and Lawrence Weiner, for the CREST research network, London, UK (2015)

‘Unspeakable, unreachable, untouchable’ -An introduction to the œuvres of the Jake and Dinos Chapman, for Hot Source digital, Norwich, UK (2013)

‘Absence and Presence in contemporary Japanese Sculpture’, Public Lecture, The Sasekawa and Robert and Lisa Sainsbury Lecture, Sainsbury Institute for the Study of Japanese Arts and Culture, Norwich Cathedral UK (2011)

‘Elephant in the Room’ – exhibition review: Recent works by Huang Yong Ping at Nottingham Contemporary, UK (2011)

‘The Rematerialisation of the Art Object’. ‘CAM’ Journal of the Museum of Contemporary Art, Number 4, April-June 2009 Casoria, Napoli. Italy (2009)

‘Histories and Theories of Intermedia’, A Spectre at The Feast.’ resource for MFA, University of Maine, USA (2007)

‘Concrete Poetry & Conceptual Art’, UBU.editions, (updated 2014) refereed website New York USA (2005)

‘The Reanimators’, essay on collaborative work of Powell and Corris by Silvia Kolbowski, for Lacan.com (2004)

‘In and Out of the White Cube’, Gwyl Gelf Arts Wales ISBN 0-9524147-91 (2002)

Mark Grote in conversation with Neil Powell. Loyola University, New Orleans Loughborough University Press ISBN 1-900856-58-1 (2002)

‘Journal of Art & Language’, New Series, Lisson Gallery London 26pp (2000)

‘Made and Unmade: The Suspended Assemblages of John Atkin’, reprint Loughborough University Press ISBN 1-900856-55-7 8pp (2000)

‘Made and Unmade: The Suspended Assemblages of John Atkin’ Urban Eye, London ISBN 1-901560-65-1, 21pp (1999)

 

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