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London – Marina Abramović: “White Space” at Lisson Gallery, through November 1st 2014

Friday, October 31st, 2014

London – Marina Abramović: “512 Hours” at Serpentine Galleries Through August 25, 2014

Saturday, July 5th, 2014

Marina Abramović Prepares to Open Opera at The Armory

Thursday, October 31st, 2013

Vice “Shoots the Shit” with Marina Abramović

Sunday, December 2nd, 2012

Marina Abramović plans to open $8 million Rem Koolhaus-designed performing art space in Hudson, New York

Friday, February 17th, 2012

AO On Site – Art Basel Miami Beach 2011: Marina Abramović 'The Artist is Present' documentary screening at Soho Beach House, December 1, 2011

Saturday, December 3rd, 2011

Go See – London: Marina Abramović at Lisson Gallery through November 13, 2010

Friday, October 29th, 2010

AO On Site – New York: Marina Abramović “The Artist Is Present” at MoMA, March 14 through May 31, 2010

Wednesday, March 31st, 2010

Marina Abramovic Interviewed in The Guardian

Monday, July 6th, 2015

Marina Abramovic Brings New Performance to Art of Elysium Benefit

Monday, January 12th, 2015

Marina Abramovic Preparing New Installation for Sydney in 2015

Friday, November 21st, 2014

Marina Abramovic Interviewed by The Observer

Monday, October 27th, 2014

Marina Abramovic Profiled in W Magazine

Thursday, October 23rd, 2014

Marina Abramovic Interviewed in Wall Street Journal

Monday, June 9th, 2014

Marina Abramovic’s Work at Serpentine Called Out for Similar Themes to Another Artist

Thursday, May 29th, 2014

Marina Abramovic Shows The Guardian Her Training Methods

Tuesday, May 20th, 2014

Marina Abramovic Interviewed in The Guardian

Tuesday, May 13th, 2014

New York – “The Life and Death of Marina Abramovic” at The Park Avenue Armory, December 12th-21st, 2013

Thursday, December 26th, 2013

Milan: Marina Abramovic ‘The Abramovic Method’ at PAC Padiglione d’Arte Contemporanea through June 10, 2012, and ‘With Eyes Closed I See Happiness’ at Galleria Lia Rumma through May 12, 2012

Tuesday, April 17th, 2012

Manchester Arts Center Hopes To Bring Culture North

Monday, August 11th, 2014

Vanity Fair Announces Results of Greatest Living Artists Poll

Monday, November 4th, 2013

Art Observed’s Art Basel Miami Beach 2012 Guide to Fairs and Events with Newslink Summary

Monday, December 3rd, 2012

New York – AO On Site: Independent Curators International Annual Fall Benefit & Auction, Monday, November 19th, 2012

Tuesday, November 20th, 2012

AO Newslink

Saturday, July 7th, 2012
Global contemporary art events and news observed from New York City. Suggestion? Email us.

Ernst Neizvestny, Sculptor Who Famously Debated Kruschev on Art in 1962, Passes Away at 91

August 22nd, 2016

Ernst Neizvestny, via NYTThe New York Times reports that Ernst Neizvestny, the sculptor who famously debated Nikita Kruschev on aesthetics at a Moscow exhibition, has passed away at the age of 91.  Neizvestny confronted the former Soviet head over an exhibition in 1962, and discussed the arts for some time, arguing in favor of his own modes of abstraction and technique, ultimately impressing Kruschev.  “You’re an interesting man — I enjoy people like you — but inside you there are an angel and a devil,” Kruschev reportedly told him.  “If the devil wins, we’ll crush you. If the angel wins, we’ll do all we can to help you.”
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Tom Sachs Speaks to Pitchfork About Frank Ocean’s Recent Video Piece

August 22nd, 2016

Tom Sachs, via PitchforkPitchfork speaks with Tom Sachs this week, as the artist breaks down his work with Frank Ocean on the recently 40-minute music video piece Endless, in which Ocean constructs a massive staircase piece by piece.  “You see each stair being stacked on top of each other onto a central steel column that’s welded and bolted to the ground,” he says.  “So there’s a transparency to the building that is the same as the transparency in the music.”
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SF Chronicle Gives In-Depth Analysis on Gift of Fisher Collection to SFMoMA

August 22nd, 2016

SFMOMA, via SF ChronicleThe SF Chronicle has a piece this week on the conditions for the donation of the Fisher Collection to SFMoMA, noting that the donation of the collection ultimately requires upwards of 60% of the museum’s space to show works from that collection, limiting the space provided for the museum to show other works, or even place works in conversation with the Fisher collection.  . “What Don was offering was, on the one hand, extremely generous … but Don wanted something that I felt we couldn’t offer him … a kind of curatorial control over what got shown,”Director Neal Benezra says.  “I felt that, as generous as this offer was, our integrity would be at risk,” Benezra said, “because the museum really needs to control, from a curatorial point of view, if nothing else, how art is presented in our building.”
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