James Faure Walker
CV : solo exhibitions : group exhibitions : collections : publications : bibliography/tv : awards : activities : teaching : overseas
CV : solo exhibitions : group exhibitions : collections : publications : bibliography/tv : awards : activities : teaching : overseas
Publications
| Reviews of David Novros, Bernard Cohen, Peter Stroud, Basil Beattie, Henry Mundy, Brendan Neiland, | 1974/6 |
| Space Studios, Sean Scully, John Edwards), Studio International | |
| The Activity of Criticism I and II (interviews with Max Kozloff, Harold Rosenberg, Rosalin Krauss, Lucy Lippar, | 1975 |
| Roberta Smith, Walter Darby Bannard), Studio International | |
| Interview with Patrick Heron, Artscribe 2 | 1976 |
| ‘AD (Alternative Developments, so-called)’, Artscribe 2 | 1976 |
| Paper at the AIR Conference on Criticism (published 1979) | 1976 |
| ‘Towards a Definition of the Progressive in Painting’, Artscribe 3 | 1976 |
| ‘The Medium of the Thinking Eye’, Artscribe 5 | 1977 |
| Interviews with Bernard Cohen, RB Kitaj, Artscribe 5 | 1977 |
| ‘Defence of Painting Now’, Artscribe 6 | 1977 |
| Interview with Al Held, Artscribe 7 | 1977 |
| Interview with Richard Cork, Artscribe 7 | 1977 |
| ‘Mapping the Hayward Annual’, Artscribe 8 | 1977 |
| Interview with Stephen Buckley, Artscribe 9 | 1977 |
| Interview with Clement Greenberg, Artscribe 10 | 1977 |
| ‘De Kooning’, Artscribe 10 | 1978 |
| ‘Images of Surrealism’, Artscribe 11 | 1978 |
| Paper at the State of British Art conference at the ICA, Studio International | 1978 |
| ‘The Claims of Social Art’, Artscribe 12 | 1978 |
| Interview with Bruce Lacey and Jill Bruce, Artscribe 15 | 1979 |
| ‘Fertile Forms’, Artscribe 16 (and in London Magazine) | 1979 |
| Introduction in Hayward Annual Catalogue, Arts Council | 1979 |
| ‘Relevance in Criticism’, Style in the Seventies catalogue | 1979 |
| ‘Ham Epic, or Putting Human Life Back into Art’, Artscribe 20 | 1979 |
| ‘In Defence of Artscribe’, Art Monthly | 1980 |
| ‘Babylonian Oasis’, Artscribe 22 | 1980 |
| ‘Clyfford Still’, Artscribe 23 | 1980 |
| Interview with John Hoyland, Artscribe 24 | 1980 |
| ‘Explaining what Modern Means’, Artscribe 26 | 1980 |
| ‘Awkward Moments (the New Spirit in Painting)’, Artscribe 27 | 1981 |
| ‘Understanding Pastiche’, Artscribe 30 | 1981 |
| ‘Creating Chances’, Artscribe 33 | 1982 |
| Introduction to the Fifties, Artscribe 34 | 1982 |
| Interview with Irving Sandler, Artscribe 34 | 1982 |
| ‘Ivon Hitchens’, Artscribe 34 | 1982 |
| ‘Wragg, Gili, Smart’, Artscribe 35 | 1982 |
| ‘Mixing with Decadence’, Artscribe 37 | 1982 |
| ‘Sense of Place’, Artscribe 38 | 1982 |
| ‘Criticism in Europe’, Artscribe 40 | 1983 |
| ‘Artscribe in Britain’, Marseille Art Present catalogue, France | 1983 |
| ‘Australia’, Artscribe 43 | 1984 |
| ‘Patrick Heron: Paintings of the Seventies’, Barbican exhibition catalogue | 1985 |
| ‘The Figure in Sculpture’, Ikon Gallery Catalogue | 1985 |
| Essay in ‘James Faure Walker’, Whitworth Gallery exhibition catalogue | 1985 |
| De Kooning entry in Makers of Modern Culture, Routledge | 1985 |
| ‘The Computer and Painting’, Breaking the Barriers, Preston | 1989 |
| ‘Painting with the Computer’, Modern Painters, Summer | 1992 |
| ‘Art and the Intelligent Lunch-Box’, Modern Painters, Spring | 1994 |
| ‘Computers, Painting and Ambition’, 5th ISEA Proceedings | 1994 |
| ‘Teaching Cyber Art’, CADE, Brighton | 1995 |
| ‘Computing and Painting in London’, SIGGRAPH Art Show catalogue, LA | 1995 |
| ‘The SIGGRAPH Electronic Theatre’, FPS Animation magazine, Montreal | 1995 |
| ‘The Outside/Inside of Techno Art’, Mute, Winter | 1995 |
| Report of Montreal ISEA, ISEA Newsletter | 1995 |
| ‘Cool Heaven: Painting and the New Electronic Art’, CHART Proceedings | 1996 |
| ‘High Culture meets Mall Culture’, Wired (UK), December | 1996 |
| Statement in YLEM, San Francisco, USA | 1996 |
| Catalogue introduction, Computerkunst, Gladbeck, Germany | 1996 |
| ISEA96 comment, Rhizome Internet Digest | 1996 |
| ‘Paint Programs’, Computer Generated Imaging | 1997 |
| ‘Cyber Theory, Oh Dear’, Computer Generated Imaging | 1997 |
| ‘CADE’, Computer Generated Imaging | 1997 |
| ‘Computers in the Painting Department’, Outline, CTI | 1997 |
| ‘Slaves to the Algorithm’, Computer Generated Imaging | 1997 |
| Review of Painter 5, Computer Generated Imaging | 1997 |
| Review of ISEA 97 Chicago, Computer Generated Imaging | 1997 |
| ‘Pigeons and the Digital Print’, Computer Generated Imaging | 1998 |
| ‘On Touch in Digital Painting’, Computerkunst catalogue, Gladbeck, Germany | 1998 |
| ‘Revolution through the Carpet’, Computer Generated Imaging | 1998 |
| ‘Patrick Heron Paintings of the Seventies’, (reprinted) Tate Gallery catalogue | 1998 |
| Paul Clifford ‘Migrations’, Chichester Festival catalogue | 1998 |
| Report on SIGGRAPH 98 Florida, Computer Generated Imaging, September | 1998 |
| Report on ISEA 98, Computer Generated Imaging, November 1998 | 1998 |
| Review of ‘The Computer in the Visual Arts’, Computer Generated Imaging, February | 1999 |
| Painting, Writing and not Going Gently’, essay in ‘5 into 20’, Kingston University, exhibition catalogue, curated and introduced | 1999 |
| by Bruce Russell | 1999 |
| ‘Heron, De Kooning, Serious Games, British Abstraction’, in ‘100 Reviews Backwards’ edited by Matthew Arnatt, Matthew | 1999 |
| Collings, Cornelia Grassi, Verlag der Buchhandlung, Walther Konig | |
| ‘The Colour and Motion Series’, catalogue essay, Colville Place Gallery | 2000 |
| Studio Visit, Jeff Dellow catalogue, Standort Gallery, Frankfurt, Germany | 2000 |
| ‘Plugging into the Past: Muybridge’, Art Review | 2001 |
| ‘Silent Motion’ catalogue essay, Stanley Picker Gallery, Kingston University | 2001 |
| ‘Drawing’, Tracey Online Journal | 2002 |
| Interview with Greenberg (1978), republished in ‘Clement Greenberg, Late Writings’, edited by Robert C. Morgan, University of | 2003 |
| Minnesota Press | |
| ‘How digital and traditional mediums can work together’, Artists and Illustrators | 2003 |
| ‘Painting and Digital Art’, Artists and Illustrators, April | 2005 |
| ‘Writing Painting the Digital River’, in Information Visualisation, iV05, edited by Ebad Banissi, Anna Ursyn, et al, IEEE | 2005 |
| Computer Society, USA | |
| ‘Painting the Digital River: How an Artist Learned to Love the Computer’, Prentice Hall, USA | 2006 |
| ‘I Told You So: Painting in Digital Culture’, SIGGRAPH Art and Animation Catalogue, Boston, USA | 2006 |
| ‘Altered Filament’, Artech conference, Pontevedra, Spain | 2006 |
| Bruce Russell, Paintings, Beardsmore Gallery | 2007 |
| ‘Translation, Translation, Oh Translation’, Garageland magazine | 2007 |
| ‘Pride, Prejudice and the Pencil’, in ‘Writing on Drawing: Essays on Drawing Practice and Research’, edited by Steven Garner, | 2008 |
| Intellect/Chicago | |
| ‘A Drawing Book for a Digital World: the missing chapters’, paper at the ‘Fine Arts in Egypt, 100 years of Creativity’ | 2008 |
| conference, Cairo | |
| ‘Machines, Drawing and Vision’, Chart conference, London | 2008 |
| ‘Drawn Encounters’, Visual Communication, Sage, Volume 8 number 2 | 2009 |
| ‘The Origins of Artscribe’, at the Artists’ Writings conference, Courtauld Institute | 2009 |
| ‘Drawing Lessons for Ants’, ISEA conference, Belfast | 2009 |
| ‘Sette Inglesi a Milano’ (Catalogue introduction, English and translated into Italian)Galleria Milano/Austin Desmond Gallery, | 2009 |
| London | |
| ‘Drawing Machines, Bathing Machines, Motorbikes, the Stars.... Where are the Masterpieces?’ in Tracey, Drawing and | 2010 |
| Technology | |
| ‘On Not Being Able to Draw a Mousetrap’, Journal of Creative Interfaces & Computer Graphics, June 2011, edited by Ben | 2011 |
| Falchuk (Telcordia Technologies Inc., USA); Adérito Marcos (Universidade Aberta, Portugal), Published Semi-Annually. | |
| ‘The Past and Present of the Digital Manual’, paper at the Recto/Verso: Redefining the Sketchbook conference, University of | 2011 |
| Lincoln | |
| ‘Painting further along the River’, ISEA Istanbul conference | 2011 |
| Drawing Books and Digital Devices: Paper for 'Drawing Connections - China Risk and Revolution', October 26-28, Lu Xun | 2011 |
| Academy of Art, Dalian, China, International Drawing Research Institute College of Fine Art, UNSW, AustraliaUNSW, COFA, | |
| publication in Mandarin and English | |
| ‘Getting Closer to Nature: Artists in the Lab’, in ‘Biologically-Inspired Computing for the Arts: Scientific Data through | 2012 |
| Graphics’, IGI Global, USA | |
| ‘A Drawing Book for Digital Eyes’, paper given in Lisbon at the 'Drawing in Question' conference, March 2010, published in | 2012 |
| Linha do Horizonte journal, Issue 2, Lisbon | |
| ‘Learning to Draw from Forgotten Manuals’, paper at the ‘Drawing in the University Today’ conference, University of Porto | 2013 |
| Foreword in ‘Perceptions of Knowledge Visualization: Explaining Concepts through Meaningful Images’,edited by Anna Ursyn, | 2014 |
| Idea Group, USA | |
| Catherine Mason, ‘Going with the Flow’, British Computer Society, March 2014 | 2014 |
| Obituary of Jim Adley, Guardian, April 2 | 2015 |
| http://www.interaliamag.org/articles/five-paragraphs-and-seven-pictures/ | 2016 |
| http://www.interaliamag.org/articles/learning-to-draw-from-forgotten-manuals/ | 2016 |
| ‘Jeff Lowe: Sculptor/Maker’, catalogue introduction, Pangolin Gallery, London | 2016 |
| 'Can watercolour get smart?' | 2017 |
| ‘Painting the Digital River: Before and After’, in Painting, Digital, Photography: Synthesis and Difference in the Age of Media | 2018 |
| Equivalence, edited by Carl Robinson, Cambridge Scholars Publishing. | |
| ‘Learning to Draw from Forgotten Manuals’ (2014 paper) | 2014 |
| ‘Drawing in the University Today’, PSIAX, nº3, series II, Universities of Porto and Minho | 2018 |
| ‘The Claims of Social Art, Forty Years On’, in David Redfern catalogue, Felix and Spear | 2018 |