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Fake Modigliani Works Lead to Lawsuits from Museum-Goers

Monday, January 15th, 2018

Collection of Modigliani Works Previously Shown in Genoa Declared Fake

Thursday, January 11th, 2018

Lawsuit Over Nahmad Family Modigliani to Go Forward

Monday, November 13th, 2017

Doge’s Palace in Genoa Closes Modigliani Show After 21 Works Discovered to be Fake

Monday, July 17th, 2017

Tate Modern to Launch Largest Ever UK Modigliani Retrospective

Tuesday, June 27th, 2017

Modigliani Catalogue Raisonné Expansion Planned

Wednesday, June 21st, 2017

Vanity Fair Spotlights Challenges to Market for Modigliani Works

Friday, May 5th, 2017

Uncertain Market for Modigliani Driving Research for Catalog Raisonné

Tuesday, July 26th, 2016

David Nahmad Talks to NYT on Disputed Modigliani

Monday, June 13th, 2016

Sotheby’s Adds $40 Million Modigliani Portrait to Sale in London This Month

Tuesday, June 7th, 2016

Contested Modigliani Work Seized by Swiss Authorities

Monday, April 11th, 2016

Panama Papers Shed Additional Light on Contested Modigliani Work

Saturday, April 9th, 2016

Nahmad Family Sued Over Modigliani Portrait Claimed as Nazi Loot

Saturday, November 28th, 2015

New York Times Profiles Modigliani Buyer Liu Yiqian

Tuesday, November 17th, 2015

Christie’s Leads November Sales in New York with $100 mil Modigliani

Saturday, September 5th, 2015

Sotheby’s to Offer Modigliani Stone Sculpture Estimated at $45 Million

Monday, October 6th, 2014

Helly Nahmad Sued Over Allegedly Helping to Hide $20 Million Nazi-Looted Modigliani

Sunday, June 8th, 2014

Modigliani Portrait Part of $237 Million Christie’s Auction in London

Saturday, January 12th, 2013

AO Onsite Auction Results: Sotheby’s Impressionist & Modern Evening Sale Realizes $227.5M; Sets Auction Record with $68.9M Modigliani Sale (UPDATED with VIDEO)

Wednesday, November 3rd, 2010

New York – “Visionaries: Creating a Modern Guggenheim” at the Guggenheim Through September 6th, 2017

Friday, August 25th, 2017

AO Auction Results – London: Christie’s Impressionist and Modern Evening Sale, June 27th, 2017

Wednesday, June 28th, 2017

AO Auction Recap – London: Sotheby’s Impressionist, Modern and Surrealist Sale, March 1st, 2017

Wednesday, March 1st, 2017

AO Auction Previews – London: Surrealist, Impressionist and Modern Art Evening Sales, February 28th – March 1st, 2017

Thursday, February 23rd, 2017

Thief in Paris Theft Case Claims He Threw Away €100 Million in Art

Tuesday, January 31st, 2017
Global contemporary art events and news observed from New York City. Suggestion? Email us.
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Economist Explores Implications on Restoration and Appraisal Technology

January 19th, 2018

Rijksmuseum, via ArchdailyA piece in The Economist looks at recent technologies in art appraisal and conservation, and questions how these developments may challenge the authority and stability of work in the field. “In the pursuit of knowledge about works of art, the language of science and that of the humanities both have to be spoken,” claims Robert van Langh, the Rijksmuseum’s head of conservation. 
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Andreas Gursky Speaks on His Early Work for The Guardian

January 19th, 2018

Andreas Gursky, via GuardianThe Guardian has an interview with Andreas Gursky this week, detailing the artist’s early experimentations in a photo of Salermo harbor that brought him to realize his most iconic works. “My teachers, the conceptual artists Bernd and Hilla Becher, had told me to avoid photographing with sunlight, blue sky or strong shadows, he says. “But I thought the warm sunlight here made for something quite kitsch. Also, up until this point, human beings had been the focus of my work – but here there were none in sight. Yet I was overwhelmed by what I saw: the complexity of the image, the accumulation of goods, the cars, the containers. I hadn’t been sure the photograph would work. I just felt compelled. It was pure intuition.”
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Tate Britain Director Alex Farquharson Interviewed in Art Newspaper

January 19th, 2018

Tate Britain, via ArtforumTate Britain director Alex Farquharson is interviewed in the Art Newspaper this week, detailing his vision for a major rehang at the museum. “Tate Britain has an exciting role in presenting art in a societal context, both past and present, so it is a question of the stories that we tell,” he says. “I have set out three pillars that inform our curatorial choices and how we communicate them. These are a trio of relationships: art and society, history and the present, and Britain and the world.”
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