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Munch Museum Looks to Restore Annual Prize

Wednesday, February 18th, 2015

Oslo Approves Proposal for New Munch Museum

Wednesday, October 29th, 2014

Oslo – Edvard Munch: “Munch 150″ at the Nasjonalmuseet and Munch Museum Through October 13th, 2013

Monday, September 16th, 2013

New Munch Museum Gets Greenlight in Oslo

Wednesday, June 5th, 2013

Munch’s “Girls on the Bridge” to Show in New Potsdam Private Museum

Tuesday, January 17th, 2017

Billionaire Hasso Plattner’s Barberini Museum Opens in Potsdam

Friday, January 20th, 2017

Norwegian Shipping Billionaire Petter Olsen to Open Private Museum in 2017

Tuesday, June 14th, 2016

Camille Henrot Takes Home Edvard Munch Award

Tuesday, December 8th, 2015

Münchsberg – Jonathan Meese: “MALERMEESE MEESEMALER” at Museum der Moderne Through March 9th, 2014

Tuesday, March 4th, 2014

AO OnSite – Philadelphia Museum of Art: Paris through the Window: Marc Chagall and his Circle, through July 10, 2011

Thursday, March 17th, 2011

Edvard Munch’s ‘Vampire’ to be auctioned by Sotheby’s, New York for possibly $35 million

Thursday, September 25th, 2008

After 20 years and $225 million in art recovered, top FBI art crimes agent Robert Wittman to retire

Saturday, December 20th, 2008

AO Fair Recap – Miami Beach: Art Basel Miami Beach and Miami Art Week, December 2nd – 6th, 2015

Tuesday, December 8th, 2015

Fondation Louis Vuitton Readies Landmark Modernist Exhibition

Tuesday, February 3rd, 2015

Vienna – Georg Baselitz: “Remix” at The Albertina Through February 12th, 2014

Monday, January 20th, 2014

Film Tour of Manet’s Exhibition at Royal Academy of Art To Screen April 11th

Saturday, April 6th, 2013

AO Newslink

Wednesday, October 24th, 2012

AO Newslink

Monday, September 17th, 2012

AO On Site with Photoset – New York: Frieze Art Fair on Randall’s Island, MAY 4–7, 2012

Friday, May 4th, 2012

AO Auction Preview – New York: Impressionist and Modern Sales at Christie’s and Sotheby’s, May 1-2, 2012

Tuesday, May 1st, 2012

AO On Site – Paris: FIAC Preview (with photoset) and News Summary, October 20–23, 2011

Thursday, October 20th, 2011

Go See – Bonn: Liam Gillick at Bundeskunsthalle through August 8, 2010

Wednesday, June 23rd, 2010

AO Onsite Auction Results – New York: Art Market History witnessed at Christie’s Impressionist/Modern evening sale

Wednesday, May 5th, 2010

Go See – New York: Banks Violette at Gladstone Gallery through April 17, 2010

Friday, April 2nd, 2010
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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