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“... dismissing it as ‘speculative’. After Nealon’s conviction was quashed, the then chair, Richard Foster, apologised and promised the CCRC would do everything it could to prevent anything similar from happening in the future.In 2010, Bob Woffinden wrote in the Guardian that ‘the CCRC has become characterised by pusillanimity and ...”

“... Richard Hamilton, who died on 13 September at the age of 89, invented the idea of Pop art, along with his colleagues in the Independent Group, more than 50 years ago. In ‘Persuading Image’, a lecture he gave in 1959, Hamilton argued, well before it was a commonplace, that consumer society depends on the manufacturing of desire through design, forever updated by the forced obsolescence of style ...”

“... Company struck again. This time the book was called Innovation and written by a director called Richard Foster. With ‘change’ all around them, successful companies need to know more about innovation and the problem of limits. Here, then, is the story of the S-curve, the theory of the Attacker’s Advantage, and a necessary correction of Peters and ...”

“... for the Centre Pompidou, and become famous overnight. The two – a 38-year-old Englishman called Richard Rogers and a 35-year-old Italian called Renzo Piano – design an exuberant building that delights some and outrages others: a glass box supported by a superstructure of steel and concrete, each façade a playful grid of prefabricated columns and diagonal ...”

“... vanished from the world. What people forget is how long it was kept up. Reared on books like Richard Foster Jones’s The Triumph of the English Language, students and teachers of English literature, as of English history, tend to assume that if a book isn’t in English then it must be ‘obscurantist, untypical and irrelevant’. By making this ...”

“... Has any other contemporary designer ‘signed’ as many cityscapes as Norman Foster? Perhaps no architect since Christopher Wren has affected the London skyline so dramatically, from the Swiss Re ‘gherkin’ to the new Wembley Stadium arch. Foster has a right to be immodest, and the Catalogue of his work is punctuated with adjectives like ‘first’ and ‘largest’, and verbs like ‘reinvent’ and ‘redefine ...”

“... Yet Piano burst into public view with the Centre Pompidou (1971-77), which, designed with Richard Rogers, is the most celebrated of the high-tech megastructures of the period, and today he is also associated with large urban schemes, including the redevelopment of the old harbour in Genoa (1985-92) and Potsdamer Platz in Berlin (1992-2000), as well as ...”

“... walls. The balance of forces is just as likely to shift in the other direction. Renzo Piano and Richard Rogers looked to contemporary sculpture for the ethos of structural transparency they applied to the exterior of the Pompidou Centre. Some artists in the 1970s, such as Michael Asher or Iain and Ingrid Baxter, had already begun stripping back the spaces ...”

“... will encounter, severally or federated, the critics Yve-Alain Bois, Benjamin H.D. Buchloh, Hal Foster and Rosalind Krauss. This quartet have been working together since the 1970s, and are currently co-editors of the journal October. Founded in 1976 and subtitled ‘Art/Theory/Criticism/Politics’, October introduced a generation of academics to an art ...”

“... Richard Hamilton’s ‘Protest Pictures’ have turned the galleries of Inverleith House in Edinburgh into a time-machine.* News events from the last fifty years flash up in every room, from a drug bust and a student murder in the 1960s, through the Troubles in the 1970s and 1980s, to the Gulf debacles of the last two decades ...”

“... With a temporary piece at the Grand Palais in Paris that also combines simplicity and grandeur, Richard Serra anticipates a late style of his own. Just a year ago a retrospective at the Museum of Modern Art charted the rigorous development of Serra’s sculptural language, from a direct engagement with rubber and lead in his early pieces to an elaborate ...”

“... When Hal Foster uses the word ‘first’ in the title of his confidently focused study, he means to start us thinking about Pop now and then. It is a reference to Reyner Banham’s Theory and Design in the First Machine Age (1960), which argued that modernism’s prewar optimism was over and done. ‘We have already entered the Second Machine Age,’ Banham declared, ‘and can look back on the First … as a period of the past ...”

“... However, as the 1960s began, Rugoff continues, artists associated with Pop and photorealism – Richard Hamilton, Andy Warhol, Gerhard Richter, Richard Artschwager, Vija Celmins and Malcolm Morley – turned again to photography, not only as a source of images but as a way to convey the look of consumer society, already ...”

“... appears in several paintings like spilled guts). In a Pop move pioneered by Eduardo Paolozzi and Richard Hamilton, Rosenquist juxtaposes various bodies as if to imply that different fetishisms, sexual and commercial, have merged in postwar culture. He captures in paint a new imagistic version of the old capitalist condition in which the human appears ...”

“... least in the minds of its signatories, for five days before the rebellion was crushed. Yet as Roy Foster implies, the founding of a republic was not as clear-cut a goal for the precursors of the men of 1916, or even for the men, and women, of the War of Independence that broke out in 1919, as later nationalist piety would insist. It is startling to read, in ...”