Herbert Read, Contemporary British Art, London, Great Britain: Penguin Books, 1951, plate 12A
Keith Sutton, “Going to St. Ives,” Art News and Review, 19 July 1958
Architectural Design, May 1959, (artist’s statement and illustration)
Michel Seuphor, Sculpture of This Century, New York: George Brazillier, Inc., 1960
Norbert Lynton, “London Letter,” Art International, November 1961
Anthony Tucker, “MICA EXHIBITION in Manchester,” The Guardian, 8 May 1962
George Butcher, “Review: The London Galleries,” The Guardian, 18 July 1962
“Two Masters of Form,” The Times, 2 March 1964
Norbert Lynton, “London Letter,” Art International, vol. III, no. 3, April 1964, pp. 77–78, ill..
“Latest Developments in British Sculpture,” Art & Literature II, Summer 1964
Nigel Gosling, “Art: Leicester comes to town,” Observer Weekend Review, 13 September 1964
“London Letter,” Art International, October 1965
“In the World of Art,” Daily Mirror, 31 December 1965, ill.
Norbert Lynton, Studio International, 1965, vol. IX, pp. 9–10
Charles S. Spencer, “Brian Wall: Sculptor of Simplicity,” Studio International, March 1966, ill.
Norbert Lynton, “New Sculpture: Brian Wall,” Art and Artists, April 1966, pp. 24–27, ill.
Andrew Causey, “New Sculpture by Brian Wall,” Illustrated London News, 9 April 1966, ill.
Griffith Williams, “Sculptors Come into Line,” Cardiff Western Mail, 16 April 1966
Edwin Mullins, “Art,” London Sunday Telegraph, 17 April 1966
Charles S. Spencer, “London Show Offers Brian Wall Sculpture,” New York Times, International Edition, 19 April 1966
“The Sheet-Iron Assemblies of Mr. Brian Wall,” London Times, 20 April 1966
Nigel Goslin, London Observer, April 1966
Norbert Lyton, Manchester Guardian, April 1966
John Russell, “Art,” London Sunday Times, April 1966
London Art News, Summer 1966
Bryan Robertson, “Microcosm,” The Spectator, 28 April 1966, p. 16
David Thompson, The Queen, 1966
Christopher Andreae, “Sculpture to see all at once,” The Christian Science Monitor, 30 November 1966, ill.
Bryan Robertson, John Russell, Lord Snowdon, Private View, London: Thomas Nelson & Sons, Ltd.,
1966, pp. 108, 254-55, Ill.
Brian Wall, Arnolfini Gallery, Bristol, Great Britatin, (artist’s statement), 1967
David Thompson, “A Decade of British Sculpture,” Cambridge Opinion no. 37, 1967
Henry J. Seldis, “New British Painting and Sculpture in Exhibition,” Los Angeles Times, 14 January 1968
Manchester Guardian, 25 March 1968, ill.
“Impatient Sculpture Unveils Itself,” Evening Gazette, 25 March 1968, ill.
“Thornaby Reborn,” Thornaby Tribune, March 1968, ill.
Kenneth Coutts-Smith, “London: Lines of Influence,” Art and Artists, September 1968
Norbert Lynton, “Out on a Lim,” Manchester Guardian, 30 September 1968
Kenneth Coutts-Smith, “Hundreth Exhibition,” Sculpture International, vol. II, no.3, October 1968, ill.
Eddie Wolfram, “Brian Wall,” Arts Review, 12 October 1968
John Russell, “Art,” London Sunday Times, 13 October 1968
“Large Sculpture for Thornaby,” Sculpture International, vol. II, no. 3, October 1968, ill.
“British Galleries at the Florence Fair,” Studio International, November 1968, ill.
R.C. Kennedy, Art International, London, vol. XII, 10 December 1968, ill.
Brian Wall: Retrospective, New York, New York: E.S.M. Documentations, (includes 44 slides), 1969
G.S. Whittet, “Question and Artist: Brian Wall,” Sculpture International, vol. 3, no. 1, October 1969, pp. 44–49, ill.
Sculpture International, October 1969, (artist’s statement)
Donald J. Irving, Sculpture, New York: Van nostrand Reinhold Co., p. 27, ill., 1970
Jerome Tarshis, “San Francisco: Group show at Oakland Museum,” Artforum, Summer 1971
Arthur Bloomfield, “Art Like a Child’s Playground,” San Francisco Examiner, April 1971, ill.
Thomas Albright, “Steel Sculpture…,” San Francisco Chronicle, 6 April 1971
Artweek, 17 April 1971, ill.
James Dickey, “Sculpture,” San Jose News, California, 13 July 1973, ill.
Thomas Albright, “Unusual Art in San Francisco,” San Francisco Chronicle, 7 January 1974
“Monumental, Simple Sculpture,” San Francisco Chronicle, 16 January 1974, ill.
Arthur Bloomfield, San Francisco Examiner, 16 January 1974, ill.
Sylvia Brown, “Brian Wall,” City Magazine, San Francisco, January 1974, p. 28, ill.
Cecille McCann, Artweek, 19 January 1974, ill.
St. Mary’s Collegian, 15 March 1974, ill.
Art Perry, “West Coast Exhibit,” Vancouver Province, Washington, 17 August 1974
Alfred Frankenstein, “A Gallery Full of Sculpture,” San Francisco Chronicle, 29 January 1976
“First Principles of Sculpture,” San Francisco Chronicle, 5 February 1976
Robert McDonald, “The Finiteness of Form,” Artweek, 21 February 1976
Charles Shere, “Impressive Showing of Bay Area Sculpture,” Oakland Tribune, 22 February 1976
R.M. Campbell, “Two Interesting Sculpture Shows,” Seattle Post-Intelligencer, Washington, May 1976, ill.
Peter Selz, “Brian Wall At Braunstein/Quay,” Art in America, May-June 1976, ill.
Hilton Kramer, New York Times, 13 May 1977
Joanne Dickson, “Public Sculpture in Palo Alto,” Artweek, 30 July 1977, ill.
William Zimmer, “Brian Wall: Sculpture Now,” Arts Magazine, New York, vol. 52, no. 1, September 1977, ill.
Thomas Albright, “A Conception of Balance,” San Francisco Chronicle, 9 September 1978, ill.
Joanne Dickson, “Lines and Planes in Tension and Harmony,” Artweek, 30 September 1978, ill.
Thomas Albright, “San Francisco,” Art News, January 1979
John Russell, “Three Striking Current Shows,” New York Times, 7 January 1979, ill.
Charlotte Moser, “Artist’s Work Exploits Three Minimal Themes,” Houston Chronicle, 31 March 1979
Robbie Ehrlich, “Brian Wall,” Arts Magazine, April 1979, p. 26, ill.
Knute Stiles, “Brian Wall at Braunstein/Quay,” Art in America, May–June 1979, pp. 3, 153–155, ill.
Rick Glaze, “Thirty Years of Recent Sculpture,” Palo Alto Weekly, California, 6 December 1979
New York Times, 12 April 1981, ill.
Sandy Nairne and Nicholas Serota, ed. British Art in the Twentieth Century, London, Whitechapel Art
Gallery, 1981, pp. 180, 263
Regina Hackett, “Opposites,” Seattle Post-Intelligencer, Washington, 2 July 1982, ill.
Ron Glowen, “Brian Wall: Tempering Toughness with Elegance,” Artweek, 31 July 1982, p. 1, ill.
Hugh J. Delehanty, “Public Sculpture: Who Chooses? Who Loses?,” Focus, August 1982, pp. 26–29, ill.
Al Morch, “S/12: Sculpture Around the Bay” San Francisco Examiner, 4 August 1982
Brenda Lane, “Installing Sculptures Takes Brains, Brawn,” Oakland Tribune, 12 August 1981, ill.
“Brian Wall: Sculpture, 1950-1982,” Sculptors International, August 1982, vol. 1, no.3, pp. 20, ill.
Leo Stutzin, “Sculpture Almost Defies Gravity,” Modesto Bee, California, 7 November 1982, ill.
Patricia Failing, “Sculpture Almost Defies Gravity,” Art News, November 1982, pp. 155–56, ill.
Sandy Ballatore, “Sculpture Conferencing – A Personal Response,” Images and Issues, November–December
1982, pp. 40–44, ill.
Carol Fowler, “Sculpture That is Definitely Off the Wall,” Contra Costa Times, 16 January 1983, ill.
Thomas Albright, “Tough and Elegant Sculpture,” San Francisco Chronicle, January 1983, ill.
Charles Shere, “Gallery Roundup,” Oakland Tribune, 20 January 1983
Al Morch, “Abstract Sculpture Says a Lot,” San Francisco Examiner, 24 January 1983, ill.
Dorothy Burkhart, “Constructivist Sculptor Builds the Right Angles,” San Jose Mercury News, 27
January 1983, ill.
Suzanne Simpson, “Gazetteer,” Nob Hill Gazette, San Francsico, February 1983
“Brian Wall: Early Yellow,” Lively Arts, February-March 1983, p. 7, ill.
Art Now/California Gallery Guide, March 1983, p. CA-17, ill.
Thomas Albright, “Lines, Cubes and the Root of the Abstract,” San Francisco Chronicle, 17 April 1983, p. 12
“Brian Wall,” Art News, May 1983, p. 135
Andrea Liss, “Bay Area Geometric Abstraction,” Artweek, 7 May 1983, pp. 1,16
Julie Anixter, “Brian Wall Retrospective at San Francisco Museum of Modern Art and Seattle Art
Museum,” Images and Issues, May–June 1983, pp. 44–46, ill.
Trends and Testimonies of Contemporary Art, Accademia Italia, Salsomaggiore, Italy, 1983, ill.
Thomas Albright, “Artist Who Alludes to Human Form,” San Francisco Chronicle, 1 July 1983, pp. 42
Alice Miller, “Urban Sculpture Garden,” Berkeley Gazette, California, 1 November 1984, pp. 8–9, ill.
Thomas Albright, Art in the San Francisco Bay Area: 1945–1980, Berkeley, California: University of
California Press, 1985, pp. 224–225, ill.
Alan Bowness, et al. St. Ives 1939-64, London: Tate Gallery Publications, 1985, pp. 33,
109–112, 114,116, 124, 144, 199, ill.
Kenneth Baker, “S.F. Arts Festival to Focus on Outdoor Sculpture,” San Francisco Chronicle, 22 April 1986
Sculpture and Works in Relief, John Berggruen Gallery, San Francisco, 1986, pp. 66–67, ill.
Foreword by Henry T. Hopkins.
Zyzzyva, June, 1987, San Francisco, ill.
Dorothy Burkhart, “P.A. Show Follows Sculptural Traditions,” San Jose Mercury News, 18 March 1988
Jane Ayers, “Important Images in Metal Stone and Wood,” Peninsula Times Tribune, 20 March 1988, ill.
Peter Davies, The St. Ives Years, England: International Standard Books, 1988
Margaret Garlake, Post-War British Abstract Art, London: Austin/Desmond Fine Art, London, 1988, ill.
Christopher Andreae, “A Collage of Steel Elements,” The Christian Science Monitor, Boston, October 5,
1992, p. 16, ill.
David Mellor, The Sixties Art Scene in London, London: Phaidon, 1993, pp. 91, 97, 102
Peter Davies, St. Ives Revisited: Innovators and Followers, Gwent, United Kingdom: Old Bakehouse Publications, , 1994
Chris Stephens, The Constructed Space: Painting, Sculpture and Verse Commemorating the
Poet W.S. Graham, City of Bradford Metropolitan Council, 1994
Chris Stephens, Bell, Benjamin, Wall, Isis Gallery, Leigh-on-Sea, England, 1994
Brian Wall, “Wall’s Eye,” Art Review, London, September 1994
George Neubert and Jon Carroll, Brian Wall: Lyrical Steel, Sheldon Memorial Art Gallery and Sculpture
Garden, University of Nebraska, Lincoln, 1995
Peter Davies, “The Supple Heavy Metal Man,” World Sculpture News, winter, 1998, ill.
Peter Davies, Brian Wall: Sculpture, Jernigan Wicker Fine Art, San Francisco, 1999, ill.
Peter Davies, After Trewyn: St. Ives Sculptors Since Hepworth, Old Bakehouse Publications, Gwent,
U.K., 2001, ill.
Norbert Lynton, Brian Wall, Flowers West, Los Angeles, 2002, ill.
Isabel Anderson, “Brian Wall at Flowers West,” ArtWeek, June 2002, p. 18, iII.
Martin Harrison, “Transition: British Art in the 50’s,” Barbican Gallery, London, 2003, ill.
Suzanne Muchnic, “Maximal Exposure,” Los Angeles Times, 14 March 2004, p. E41
Anthony Caro and Ian Barker, Anthony Caro: Quest for the New Sculpture, Lund Humphries/Ashgate
Publishing, Hampshire, England, 2004, pp. 96, 113, 121, 170
Philip F. Palmedo, Joel Perman: A Sculptor’s Journey Abbeville Press, NY, NY, 2006, ill.
Martin Harrison, In Camera-Francis Bacon: Photography, Film and the Practice of Painting, Thames &
Hudson, Inc., New York, 2006, pp. 139, 141
Chris Stephens, Brian Wall, Momentum, London, 2006, ill. Foreword by Suzaan Boettgar.
Peter Davies, St. Ives 1975-2005 Art Colony in Transition, St. Ives Printing & Publishing Company,
Cornwall, England, 2007, pp. 31–32
Andrew Lambirth, Roger Hilton, Thames & Hudson, Inc., New York, 2007, pp. 129, 150
Kenneth Baker, “Heron’s colors obliterate figure and ground,” San Francisco Chronicle, 9 February 2008, ill.
Robert Ayers, “Brian Wall,” blouinartinfo.com, 28 January 2008,
(cited 26 January 2017)
Norbert Lynton & Ian McKay, Bernard Cohen, Flowers Publishing, London, 2009, pp. 16
Chris Stephens, Trevor Bell, Sansom & Company, Ltd., Bristol, England, 2009, pp. 70-72, ill.
Zyzzyva, Spring, 2010, San Francisco, California, ill.
William Turnbull, “Beyond Time,” Waddington Galleries, London, 2010, p.12
Kenneth Baker, ARTnews, October 2011, p. 113, ill.
Kenneth Baker, “Wall’s Sculptures Make Steel Float,” San Francisco Chronicle, 23 July 2011, ill.
Clarrie Wallis and Andrew Wilson, Barry Flanagan: Early Works 1965-1982, Tate Publishing, London,
2011, p. 135
Kara Kaczmarsky, “Brian Wall,” Re: Sculpture International Sculpture Center. Web. 25 January 2012
Daniel Grant, “Broad International Demand For Brian Wall’s Abstract Sculptures,” ARTnews, 17 January 2012, < http://www.artnews.com/2012/01/17/broad-international-demand-for-brian-walls-abstract- sculptures/> (cited 26 January 2017)
Mary Jo Bowling, “Life as Art: A Gallery Owner Takes His Work Home,” CA Home & Design, April
2012, pp. 114, 117, ill.
Peter Selz, “San Francisco-Brian Wall: Hackett | Mill,” Sculpture Magazine, Vol. 31 no. 4, May
2012, pp. 68–69, ill.
Pete Townshend, Who I Am: a Memoir, Harper Collins Publishers, New York, NY, 2012, p. 49
Rungwe Kingdon and Frances Carey, Sculptors’ Drawings and Works on Paper, Pangolin London and Kings Place Gallery, August 2012, p. 222, ill. Foreword by James Darkins.
Camila Belchior, “Paralelas Convergentes,” Bamboo Magazine, Brazil, pp. 62–63, ill.
Maria Alice Milliet, Gloria Carnevali, Sam Gathercole, and Ferreira Gullar, Concrete Parallels: British Constructivism, Brazilian Concrete, and Neoconcrete Art, Dan Galeria, 2013, pp. 25, 27, ill.
David Fedfern, The London Group: a history 1913–2013, The London Group, 2013, pp. 215–217, 226, 396
Nancy Durrant, “Barbara Hepworth: As an artist she was on par with…” The London Times, Sunday Review,
London, 6 June 2015
Peter Selz, Paul Karlstrom, Lindsey Kouvaris, and George Neubert, Brian Wall: Squaring the Circle,
Hacket | Mill and the de Saisset Museum, University of Santa Clara, Santa Clara, CA, 2015
Sheryl Nonnenberg, “Brian Wall: Squaring the Circle,” metroactive.com, 22 April 2015, (cited 26 January 2017)
Sadie Stein, “Rough and Ready,” Elle Décor, no. 233, March 2017, pp. 125, 126, 129, ill.
Julia Beaumont-Jones, A Century of Prints in Britain, Arts Council Collection and Hayward Publishing, 2017, pp. 118–119, ill.
“City Sculpture Projects 1972,” Leeds: Henry Moore Institute, 2017, pp. 2, ill. 3, 44
Sophie Bowness, Barbara Hepworth: The Sculptor in the Studio, London: Tate Publishing, 2017, p. 61
David Whittaker, St Ives Allure: Engagements with Art and Place in West Cornwall, Charlbury, England:
Wavestone Press, 2018, pp. 32–33, ill. 32
Chris Stephens, St. Ives: the Art and the Artists, London: Pavilion Books Company Ltd. and Tate, 2018,
pp. 122¬–126, 154, 215, 218, 221, 228, 259,z ill. 124, 155
María C. Gaztambide, On Site: 50 Years of Public Art of the University of Houston System, New York: Scala
Arts Publishers, Inc., 2019, pp. 17, 38, ill. 36–37, 274

1966 “Untitled Black” (1964) featured in the film “Morgan: A Suitable Case for Treatment,”
director Karel Reisz, producer Leon Clore, Anchor Bay
1966 “Four Elements” (1965) featured in the film “Blow-Up,” director Michelangelo Antonioni,
producer Carlo Ponti, Metro-Goldwyn-Mayer
1969 Grosvenor Gallery solo exhibit featured in the film “Take a Girl Like You,” director Jonathan Miller, producer Hal E. Chester, Columbia Pictures
1982 interview for “Segment Two,” KTVU, Oakland, CA
2003 interview for “The Art of Barbara Hepworth,” presenters Chris Stephens & Penelope Curtis,
Illuminations
2009 interview for “The Art of Cornwall,” director Spike Geilinger, producer Adam Kemp, BBC4
2010 interview for “William Turnbull: Beyond Time,” directors/producers Alex Turnbull & Pete
Stern, Turnbull Studio & Waddington Galleries
2015 interviewed by Lily Cole for the “Barbara Hepworth: Sculpture for a Modern World,” exhibition at Tate Britain, London, broadcast on BBC4 and BBC World News, June, 2015