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AO On Site – NYC: “Salad days” at The Journal Gallery Through December 15th, 2010 (with Video Interview and Editorial by Patrick Meagher)

Tuesday, December 14th, 2010

London – Theaster Gates: “Freedom of Assembly” at White Cube Gallery Through July 5th, 2015

Thursday, July 2nd, 2015

New York – “Freezer Burn” Organized by Rita Ackermann at Hauser and Wirth Through December 20th, 2014

Tuesday, December 16th, 2014

Humlebæk, Denmark: Andreas Gursky at Louisiana Museum of Modern Art through May 13, 2012

Sunday, February 26th, 2012

Go See: Jake and Dinos Chapman “Little Death Machines” at L&M Gallery, NY, through June 14

Wednesday, June 4th, 2008
Global contemporary art events and news observed from New York City. Suggestion? Email us.

Sheila Hicks Profiled in New Yorker

March 20th, 2018

Sheila Hicks, via New YorkerArtist Sheila Hicks gets a profile in the New Yorker this week, as she reflects on her work and gives a tour of her studio. “You see the junk all over my studio?” she says of her cluttered studio and the practice that emerges from it. “It’s like drawing or sculpting with the scissors.”
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Former Art Basel Exec Magnus Renfrew to Launch Taipei Art Fair

March 20th, 2018

Dennis Chen, country head and head of wealth management, UBS Taiwan, and Magnus Renfrew, cofounder and director of Taipei Dangdai, via Art NewsFormer Art Basel fair head Magnus Renfrew is launching a new art fair, Taipei Dangdai, set to coincide with next year’s Taipei Biennial. “With Hong Kong, I was proud to be involved in organizing a fair that asserts itself as a global fair for the region and will remain so,” Renfrew says. “There is a big gap between Art Basel Hong Kong and other fairs in the region, in terms of quality and how they are progressing. It’s necessary to have other fairs that have real quality and don’t necessarily aspire to be the global fair for the region.” 
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Anthea Hamilton Interviewed in the Guardian

March 20th, 2018

Anthea Hamilton, via GuardianArtist Anthea Hamilton is interviewed in The Guardian this week, as the artist prepares a work for the Tate Britain’s Duveen Commission. “Well, I don’t think I’m allowed to talk about the work yet, I’d have to check,” she says drily. “But no, it’s not intimidating. The architecture is obviously very powerful but if you take that as a given, it’s not an issue.”
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