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London – Michael Rakowitz’s ‘The Invisible Enemy Should Not Exist’ Opens on London’s Fourth Plinth

Friday, March 30th, 2018

Fourth Plinth Commissions Announced for 2018 and 2020

Tuesday, March 21st, 2017

Finalists for Next Fourth Plinth Sculpture Announced in London

Thursday, January 19th, 2017

New York’s High Line to Establish its Own Version of London’s Fourth Plinth

Wednesday, January 11th, 2017

London – David Shrigley’s “Really Good” Unveiled for Trafalgar Square’s Fourth Plinth Commission

Wednesday, October 5th, 2016

David Shrigley’s Fourth Plinth Statue Goes on View in London

Thursday, September 29th, 2016

Hans Haacke Prepares to Install Sculpture on London’s Fourth Plinth

Tuesday, March 3rd, 2015

David Shrigley and Hans Haacke Selected For London’s Fourth Plinth

Saturday, February 8th, 2014

London Releases Shortlist for New Fourth Plinth Installation

Tuesday, September 24th, 2013

Six Artists on the Shortlist for Empty Fourth Plinth

Thursday, September 5th, 2013

Fritsch’s Blue Cockerel Finally Unveiled on Fourth Plinth

Saturday, July 27th, 2013

New Sculpture for London’s Fourth Plinth Raises Ire of Local Planning Group

Friday, May 3rd, 2013

AO On Site – London: Elmgreen & Dragset’s Fourth Plinth installation ‘Powerless Structures, Fig. 101′ at Trafalgar Square through February 2013

Thursday, February 23rd, 2012

AO News Summary: London’s 2012 and 2013 Fourth Plinth Winners Announced: German ‘Hahn/Cock’ and Scandinavian ‘Powerless Structures, Fig. 101′

Sunday, January 16th, 2011

Go See – London: “One & Other” on The Fourth Plinth by Antony Gormley in Trafalgar Square through October 14th 2009

Wednesday, July 15th, 2009

Antony Gormley in search of volunteers for Fourth Plinth installation at Trafalgar Square, London

Thursday, March 5th, 2009

The Fourth Plinth Contest at the National Gallery in London

Friday, January 25th, 2008

Hans Haacke Profiled in New York Times

Monday, October 27th, 2014

New York – “Sculpture” at Matthew Marks Gallery Through April 19th, 2014

Monday, March 24th, 2014

AO On Site, Venice – Marc Quinn at Fondazione Giorgio Cini, May 29th – September 29th, 2013

Friday, May 31st, 2013

London – Elmgreen & Dragset: “Harvest” at Victoria Miro, Through November 10th, 2012

Sunday, October 14th, 2012

AO On Site – Performa 2011 – New York: Elmgreen & Dragset at Skirball Center for the Performing Arts, November 1 & 3, 2011

Sunday, November 6th, 2011

AO News Summary: Antony Gormley’s Latest Sculpture Unveiled in Lelystad, the Netherlands

Saturday, September 25th, 2010

Newslinks for Tuesday October 20th, 2009

Tuesday, October 20th, 2009
Global contemporary art events and news observed from New York City. Suggestion? Email us.
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Market Thrives for Kerry James Marshall

June 19th, 2018

Kerry James Marshall, via NPRThe Art Newspaper looks at the thriving popularity of the work of Kerry James Marshall, after a record-breaking auction price drove new interest in his work, and a rampant demand for pieces, including those about to go on view at a show at David Zwirner’s London location. “We might not even keep a waiting list for the exhibition,” Zwirner says. “It’s going to be very hard to get a painting from that show, that’s for sure.”
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Theaster Gates Asks Collectors: “Support Artists That Live in Your Cities”

June 19th, 2018

Theaster Gates, via The GuardianTheaster Gates made a statement on supporting young artists in remarks last night at a party in Basel, asking collectors to support young artists making and selling their work. “You guys, I know that I’m the byproduct of people saying yes when they didn’t know me, saying yes at my potential and the possibility of the thing,” he said. “Throwing small dinners with me with five people that has turned into dinners for 200. I’m just grateful.”
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Art Newspaper Looks at Costs and Rewards of Major Art Prizes

June 19th, 2018

Glasgow-born artist Susan Philipsz is congratulated by friends and family after hearing that she has won the Turner Prize 2010, at the Tate Britain gallery, in central LondonA piece in Art Newspaper this week asks if arts awards really carry many of the benefits for winners that they claim, looking at a range of examples including a recent protest by a group of artists nominated for Germany’s Berlin Nationalgalerie Prize. “There is an unspoken assumption that the participants are likely to be remunerated by the market as a result of being nominated for or winning the prize,” the artists nominated for this prize said in an open statement. “We know that this is not always the case. The logic of artists working for exposure feeds directly into the normalization of the unregulated pay structures ubiquitous in the art field.”
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