Academic literature on the topic 'Chapman, Jake – Exhibitions'

Kidd, Verity. "Perfection? - Recreating the human : an exhibition of works by Orlan, Patricia Piccinini, Margi Geerlinks and Jake and Dinos Chapman." University of Western Australia. School of Architecture, Landscape and Visual Arts, 2007. http://theses.library.uwa.edu.au/adt-WU2008.0036.

Chapman, Jake. Jake und Dinos Chapman. Köln: König, 2005.

1962-, Chapman Dinos, Cotter Suzanne, and Modern Art Oxford, eds. Jake & Dinos Chapman: The rape of creativity. Oxford: Modern Art Oxford, 2003.

Chapman, Jake and Dinos. If Hitler had been a hippy how happy would we be. London: White Cube, 2008.

Chapman, Jake and Dinos. Fucking hell. London: White Cube, 2008.

Jake & Dinos Chapman: Come and See. Walther König, Köln, 2014.

Chapman, Jake and Dinos. Jake and Dinos Chapman: Memento Moronika. Verlag der Buchhandlung Walther Konig, 2009.

With the artists/meet the artists: Jake Chapman, George Condo, Paul McCarthy and Dinos Chapman. New York, NY: Deitch Projects, 2007.

Andrew, Renton, and Anderson O'Day Gallery, eds. Show hide show: Jake Chapman, Alex Hartley, Abigail Lane, Sam Taylor-Wood. London: Anderson O'Day Gallery, 1991.

Turner, Chris, Clarrie Wallis, Tanya Barson, and Christoph Grunberg. Jake and Dinos Chapman: Bad Art for Bad People. Tate Publishing, 2007.

1962-, Folie Sabine, Glasmeier Michael 1951-, and Kunsthalle Wien, eds. Eine barocke Party: Augenblicke des Welttheaters in der zeitgenössischen Kunst : Dinos und Jake Chapman, Wim Delvoye, Ulrike Grossarth, Yvonne Rainer, Sam Taylor-Wood, Paul Thek. Wien: Kunsthalle, 2001.

"Jan Chapman is part of a generation of Australian lmmakers and producers who emerged in the wake of what became known as the Australian New Wave of the 1970s. At Sydney University (where she studied English literature), she was part of the Sydney Filmmakers Co-Op. She met the lmmakers Gillian Armstrong and Phillip Noyce (later her husband), and gained practical experience of exhibition and distribution, as well as directing her own short lms. Chapman subsequently spent over a decade at ABC TV, directing and producing. During this period, she rst encountered Jane Campion, whose TV drama Two Friends (1987)—scripted by Helen Garner—she produced. Her rst feature lm as producer was The Last Days of Chez Nous (1992), directed by Gillian Armstrong and also scripted by Garner. By then, she and Campion were already planning The Piano (1993), which was eight years in gestation. Although she didn’t produce Campion’s debut feature Sweetie (1989), or her lms An Angel at My Table (1990) and The Portrait of a Lady (1996), she was a script consultant on the last two lms. After The Piano won the Palme d’Or in Cannes, Chapman was given a development deal with Miramax. However, she preferred to nurture her own projects in Australia. Through Campion, she was put in touch with Shirley Barrett, whose Camera d’Or-winning Love Serenade (1996) she produced. With Campion, she went on to produce Holy Smoke (1999) and Bright Star (2009). Her other credits include Barrett’s Walk the Talk (2000) and Ray Lawrence’s Lantana (2001). She has also served as an executive producer on lms by talented young Australian directors, among them Cate Shortland’s Somersault (2004), Paul Goldman’s Suburban Mayhem (2006), and Leon Ford’s Griff The Invisible (2010). She is currently in the early stages of development on a new feature with Campion called Runaway, based on an Alice Munro short story." In FilmCraft: Producing, 33–35. Routledge, 2013. http://dx.doi.org/10.4324/9780240823881-8.