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Case Over Pieter Bruegel the Younger Painting Hints at Problems with Painting Valuations

Monday, April 24th, 2017

Pieter Bruegel the Elder

Monday, December 1st, 2008

Jan Bruegel the Elder

Monday, December 1st, 2008

New York – Jim Shaw at Metro Pictures Through December 22nd, 2017

Wednesday, December 13th, 2017

New York – Glenn Brown at Gagosian Gallery Through June 21st, 2014

Monday, June 16th, 2014

New York – Alex Prager – “Face in the Crowd” at Lehmann Maupin Through February 23rd, 2014

Tuesday, February 18th, 2014

Detroit Institute of Arts Valuation is In: $454 million to $867 million

Monday, December 23rd, 2013

Detroit Free Press Explores Christie’s DIA Valuation and its Implications for Museums Worldwide

Monday, August 19th, 2013

Deceased Artists

Thursday, July 7th, 2011

AO News Summary – Madrid: Breugel’s 41st painting, one of his largest, discovered at Prado Museum

Sunday, September 26th, 2010

Theodore Gericault

Monday, December 1st, 2008

Albrecht Durer

Monday, December 1st, 2008

Hieronymous Bosch

Monday, December 1st, 2008
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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