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Focuses on the art exhibition titled 'Works on Paper,' which is being held at the Seventh Regiment Armory in New York City, as of February 27, 2004. Description of the paper art works that were featured in the exhibition; Viewing schedules.

Comments on the drawing exhibition titled Work on Paper in New York City.

Reports that a pen-and-ink drawing of a palace in Venice, Italy, is one of the many treasures that the Bard Graduate Center in Manhattan, New York City, will show beginning March 11, 2004, when it opens "The Devonshire Inheritance: Five Centuries of Collecting at Chatsworth". Drawings by the Mannerist architect Andrea Palladio; Proposal for a new Doge's Palace in Venice which was never used.

An art review on Friday about an exhibition at the George Adams Gallery in Manhattan referred incorrectly to some of the portraits by Alfred Leslie on display. They are graphite pencil on paper, not charcoal on paper. [ABSTRACT FROM AUTHOR]

The article focuses on the trends and activities of various art institutions in the U.S. in 2012. It says that Metropolitan Museum of Art (MoMA) remains silent over its plans for the Whitney's Breuer Building. It discusses various art shows in 2012 including shows featuring the works of Richard Artschwager and Yayoi Kusama at the Whitney Museum, the "Joseph Albers in America: Painting on Paper" exhibition at the Morgan Library & Museum, and the "Tokyo 1955-1970: A New Avant-Garde" show at MoMA.

The article offers information on the Parrish Art Museum in East End, Long Island in New York that opens on November 10, 2012, which resembles an elongated and connected double barn. It states that the Parrish was designed by Herzog & de Meuron Architekten AG and Reed Hilderbrand Associates Inc. It says that the museum has seven galleries for permanent collection and has three for contemporary exhibitions, such as "Malcolm Morley: Painting, Paper, Process" until January 13, 2013.

IT has already been a huge crowd pleaser in San Francisco and Paris, and now ''THE STEINS COLLECT: MATISSE, PICASSO AND THE PARISIAN AVANT-GARDE'' is coming to New York, where it opens at the Metropolitan Museum of Art on Tuesday. The exhibition focuses on Gertrude Stein and her brothers, Leo and Michael (as well as Michael's wife Sarah), who settled in Paris in the early years of the 20th century and befriended artists like Matisse and Picasso. Their home became a famous gathering place where they held weekly salons for artists and collectors, scholars, dealers and aristocrats to see the latest examples of what was being produced during those years. And over time the family amassed a formidable collection of paintings, drawings, prints and sculptures that offers a snapshot of a seminal era in the history of art. The exhibition showcases the Steins' collection, with both well-known and obscure images that total around 200 paintings, sculpture and works on paper. The show begins with the art Leo Stein collected when he moved to Paris in 1903 -- paintings and prints by Cezanne, Degas, Toulouse-Lautrec, Manet and Renoir -- and goes on to chronicle the family's acquisitions in subsequent years, examining the close relationships they formed with many of the artists they encountered. Through June 3, (212) 535-7710, metmuseum.org. [ABSTRACT FROM PUBLISHER]

Exhibitions at Asia Society often reveal an unfamiliar dimension to an artist's work. When the society presented a show about the Japanese neo-Pop artist Yoshitomo Nara last year, for example, it examined how his passion for music influenced his art. A new exhibition by the installation artist Sarah Sze will explore her process and her interest in traditional Chinese painting. ''Sarah Sze: Infinite Line,'' which runs Dec. 13 to March 25, will focus specifically on the artist's works on paper. And for the first time, Asia Society's large window facing Park Avenue, by 70th Street, will be uncovered so that passers-by will be able to see a site-specific installation Ms. Sze (pronounced ZEE) has created for the space. [ABSTRACT FROM AUTHOR]

WHITE PLAINS THE diversity of work created by ceramic artists from around the region -- from clay formed so finely it resembles furled paper to orbs that appear immovable in their massiveness -- is currently on view in ''Earth,'' an exhibition at ArtsWestchester's Arts Exchange here, presented in cooperation with Clay Art Center in Port Chester. [ABSTRACT FROM PUBLISHER]

Participatory art came to the Museum of Modern Art long before Marina Abramovic began her daylong vigils seated opposite one random museum visitor at a time. It arrived at least as early as 1970, with the interactive, sewn-canvas sculptures of a young German artist named Franz Erhard Walther. These works were included in the museum's ''Spaces'' exhibition, a show of installations by five artists and one collective that was itself among the first of its kind. So it makes a certain sense that while Ms. Abramovic is performing in the Modern's atrium, Mr. Walther -- much better known in Europe than here -- is having his first solo show in New York in nearly 20 years. On view at Peter Freeman Inc. in SoHo, it contains 6 sculptures and more than 30 works on paper. Nearly all date from 1967 to 1973, when Mr. Walther was living and working in New York. [ABSTRACT FROM PUBLISHER]

In hundreds of exhibitions over the last three decades the names of a stunning number of curators and artists have entered the institutional memory of the Museum of Modern Art. But behind nearly all of these shows there has been a constant, a man whose name rarely surfaces anywhere except in invoices. It seems somehow appropriate, then, to find Jerome Neuner, the director of the museum's department of exhibition design and production, in a windowless office below street level, down an anonymous industrial hallway. The tables around him are covered by yards of scroll-like paper that look like something a medieval copyist might pore over. But these are computer-printed scrolls, precise, color-coded schedules that keep Mr. Neuner apprised of every important date involving the shows now happening or about to happen throughout the 125,000 square feet of gallery space above his head, 40,000 more square feet than he had to worry about before the museum's expansion was completed in 2004. [ABSTRACT FROM PUBLISHER]

The article presents information related to the "Multiple Choice: From Sample to Product," exhibition, which is scheduled to take place on November 9, 2007 at the Smithsonian's Cooper-Hewitt National Design Museum in New York. The exhibition is reported to show instances from the museum's collection of wallpaper and fabric sample books, sample ceramic plates and other items. Lucy Commoner, the museum's head of conservation, talked about the beauty and modernity of objects to be exhibited.

Presents several art exhibitions in New York. "Two Sculptures for a Room by Palermo," by Gerhard Richter; Works of artists Richard Artschwager and Ed Ruscha; "Works on Paper, 1957-1964," by Robert Ryman.

Focuses on Robert Ryman: Works on Paper, 1957-1964, a painting exhibition of Ryman at the Peter Blum Gallery in New York City. Emergence of abstraction and Conceptual Art during the twentieth century; His practice of using white paint almost exclusively to all kinds of surfaces.

The article presents information on the art exhibition by Michael Mazur in Manhattan. For one who started out under the spell of the gloomy graphic artist and sculptor Leonard Baskin, Mazur has come a distance. Primarily known as a printmaker, he is also a draftsman, sculptor and painter. The canvases and works on paper seem to have progressed beyond the Chinese influence to a looser, more open handling of paint and space. The resulting exuberance and canvases are less structured, their sunnier colors and freer linear forms floating in a limitless expanse.

The article presents information on the painting exhibition by Thomas Demand in Chelsea, Manhattan, New York. Demand's big color photographs of things that look real but turn out to be carefully constructed of paper, plastic and other inexpensive materials are as visually striking and philosophically provocative as ever. "Clearing," is a 17-foot-wide vision of a dense forest interior with sunlight steaming into the middle. That things so clearly fake can seem so vividly real propels the mind into deeper waters of thought, not only about how and what one can truly know about the world.

Profiles Isamu Noguchi and discusses his famous Akari lamps in the `Quiet Light' exhibition at the Gallery at Takashimaya in New York City. Paper and silk lamps; Their variety, simplicity, translucence and craft.

Examines the price of the "Gates" exhibition by Christo and Jeanne-Claude held in Central Park. Price tag of $21 million and the question of how some nylon fabric, steel and vinyl tubing could have cost that much; Payment of the money by the artists without the use of any public or corporate funds; Estimated that the exhibition brought $254 million into the city's economy; Refusal of the artists to say how they came up with the sum which has stirred debate; The art installation agreement with the city which promised about $5 million in fees; Approximate prices on the physical supplies; How the artists are recouping their investment in the exhibit.