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Jorge Daniel Veneciano Leaving Museum of Arts and Design After Only Five Months

Friday, January 20th, 2017

Go See – Cleveland: 'Paul Gauguin: Paris 1889' at the new Rafael Vinoly designed Cleveland Museum of Art through January 18th, 2010

Wednesday, December 2nd, 2009

Met Museum Admissions Policy Leads to Artists’ Response in NYT

Sunday, March 4th, 2018

Queens Museum Head Laura Raicovich Out After Investigation

Saturday, February 17th, 2018

New York: Heimo Zobernig: “chess painting” and “nework” at Petzel Galleries Through February 17th, 2018

Tuesday, February 6th, 2018

New York: Women’s History Museum: “OTMA’s Body” at Gavin Brown’s Enterprise Through February 25, 2018

Monday, February 5th, 2018

Mayor Thomas Geisel of Düsseldorf Reverses Plans to Cancel Show on Jewish Art Dealer

Friday, December 22nd, 2017

Hiroshi Sugimoto to Redesign Hirshhorn Lobby

Wednesday, December 20th, 2017

Sackler Family Donations Raise Ethical Questions Over Museum Endowments

Wednesday, December 6th, 2017

AO Preview – Miami Art Week in Miami Beach, December 5th – 10th, 2017

Monday, December 4th, 2017

British Museum Terminates Deal for Abu Dhabi Loan Project

Wednesday, November 1st, 2017

Amanda Ross-Ho: “My Pen Is Huge” at Mitchell-Innes & Nash Through October 14th, 2017

Thursday, October 12th, 2017

Rem Koolhaas’s OMA to Design Expansion for New Museum

Wednesday, October 11th, 2017

Queens Museum’s Laura Raicovich Profiled in NYT

Wednesday, October 11th, 2017

AO On-Site – London: Frieze Art Fair, October 5th – 8th, 2017

Saturday, October 7th, 2017

Egg-Shaped Mini Museum Arrives in LA

Thursday, September 28th, 2017

Yayoi Kusama’s Tokyo Museum Opens to Public

Wednesday, September 27th, 2017

New Plans for Public Art Emerge from Ashes of Barry Diller’s Hudson Island Proposal

Wednesday, September 20th, 2017

Miami Arts Institutions Emerge from Hurricane Irma with Little Damage

Friday, September 15th, 2017

Takashi Murakami Merchandise Causes Rush at MCA Chicago Show

Wednesday, August 30th, 2017

New York City’s Arts Institution Boards Remain Overwhelmingly White, Report Finds

Friday, August 25th, 2017

Yayoi Kusama Opening Her Own Museum in Tokyo

Wednesday, August 16th, 2017

Met Museum Turns Over Ancient Bull’s Head Thought to be Looted

Wednesday, August 2nd, 2017

Getty Museum Acquires Major Collection of Drawings

Friday, July 21st, 2017
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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