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Bloomberg Reports on Two More Leonardo Da Vinci Works in Private Collections

Friday, December 22nd, 2017

Leonardo da Vinci Painting Inspires Mystery Over Depiction of Transparent Orb

Thursday, October 19th, 2017

Portrait in Swiss Collection Identified as Lost Leonardo da Vinci Portrait

Sunday, October 6th, 2013

Go See – London: ‘Leonardo da Vinci: Painter at the Court of Milan’ at the National Gallery through February 5, 2012

Tuesday, December 20th, 2011

Leonardo Da Vinci

Sunday, November 23rd, 2008

Leonardo Da Vinci

Sunday, November 23rd, 2008

Leonardo Da Vinci

Saturday, November 22nd, 2008

Art Newspaper Notes Surging Market for da Vinci Copies

Wednesday, January 3rd, 2018

WSJ Reports Buyer of da Vinci’s ‘Salvator Mundi’ as Saudi Crown Prince

Friday, December 8th, 2017

Saudi Prince Reportedly Buyer of da Vinci’s ‘Salvator Mundi

Friday, December 8th, 2017

NYT Analyzes Market Impacts Caused by da Vinci Record

Tuesday, November 28th, 2017

Christie’s da Vinci Sale Explored in Art Market Monitor

Wednesday, November 22nd, 2017

Visitors Crowd Christie’s to View da Vinci Piece on Sale this Week

Tuesday, November 14th, 2017

Christie’s to Offer Last da Vinci in Private Hands Next Month in New York

Wednesday, October 11th, 2017

French Government Bars Export for €15 Million da Vinci Drawing

Wednesday, January 4th, 2017

Long-Lost Da Vinci Appears in Paris

Monday, December 12th, 2016

Dealers Sue Sotheby’s Over Da Vinci Work Resold for Over $120 Million

Monday, December 5th, 2016

Da Vinci Notebook Coming to the Smithsonian

Friday, August 9th, 2013

Britain’s Collection of Da Vinci Drawings Owned by the Monarchy

Monday, August 5th, 2013

New Tests Posit Swiss Mona Lisa as Da Vinci’s “Original” Work

Monday, February 18th, 2013

British Library Publishes Full Collection of Da Vinci Notebooks

Wednesday, February 13th, 2013

AO On Site – New York: Francesco Vezzoli ‘Sacrilegio’ at Gagosian Gallery 21st Street, opened Saturday, February 5th, running through March 12, 2011

Tuesday, February 8th, 2011

Newslinks for Tuesday October 27th, 2009

Tuesday, October 27th, 2009

Newslinks for Wednesday, October 14th, 2009

Wednesday, October 14th, 2009
Global contemporary art events and news observed from New York City. Suggestion? Email us.

ICA Philadelphia Gets W.A.G.E. Certification

March 23rd, 2018

ICA Philly, via Art NewsThe ICA Philadelphia will be the first museum certified by Working Artists and the Greater Economy (W.A.G.E.), a New York-based organization pushing for sustainable economic relationships between artists and exhibiting institutions. “Our partnership with W.A.G.E. helps to set a new standard in the museum field, one that ensures equitable environments for the artists with whom we work,” director, Amy Sadao, said in a statement.“We’re proud to be the first museum to join this diverse group of arts and culture institutions across the U.S. who are certified, and hope that it will encourage other museums to do the same.”
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Art News Explores Controversy Over Helen Molesworth Firing

March 22nd, 2018

Helen Molesworth, via MOCAArt News has a piece exploring the firing of Helen Molesworth at MOCA in-depth, seeking to understand what the museum’s claims that she had been “undermining the museum.” The piece explores a series of public statements and quotes by the curator that were critical of MOCA and its programming choices.  “Everything that happens in museums is a microcosm of what happens in the world,” she says in one quote.  “I’ve been told that I have lot of ‘swagger’—code: gay, code: black. I have been told: Do I have to look at everything through the lens of identity politics?”
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Joan Jonas Profiled in The Guardian

March 22nd, 2018

Joan Jonas, via GuardianJoan Jonas gets a feature in The Guardian this week, as the artist opens her retrospective at the Tate Modern. “When I use a myth or a story or a literary text in my work, I often extract particular passages from a larger narrative that resonates with me,” she says. “In performance, the audience hears the text, recorded in advance or recited in real time, in fragments, and sees components – such as movements, props, drawings and video – that may relate only indirectly to the text. I don’t change the language, but rather I change the context, which opens up the text to different possibilities of meaning. I don’t illustrate; I juxtapose.”
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