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Venice – Damien Hirst: Treasures from the Wreck of the Unbelievable at the Palazzo Grassi and Punta Della Dogana Through December 3rd, 2017

Tuesday, June 6th, 2017

Protestors Dump Animal Dung Outside Palazzo Grassi in Protest Over Damien Hirst Show

Wednesday, March 15th, 2017

AO On-Site – Venice: Rudolf Stingel at Palazzo Grassi Through December 31st, 2013

Thursday, June 6th, 2013

AO On Site at the 54th Venice Biennale 2011: Preview (with photoset) of Francois Pinault Foundation’s “The World Belongs to You” at Palazzo Grassi, through December 31, 2011

Wednesday, June 1st, 2011

Damien Hirst Interviewed by New York Times

Thursday, March 15th, 2018

Damien Hirst Interviewed in The Times

Tuesday, December 19th, 2017

AO On-Site – Venice: The National Pavilions at the Venice Biennale, May 13th – November 26th, 2017

Saturday, May 13th, 2017

AO Preview – Venice Biennale Vernissage, May 10th – 13th, 2017

Monday, May 8th, 2017

Damien Hirst’s New Show Profiled in The Guardian

Monday, March 27th, 2017

Damien Hirst Looks to Rebook Market in Venice this Spring

Wednesday, February 22nd, 2017

Venice: “Slip of the Tongue” Curated by Danh Vo at the Punta Della Dogana Through December 31st, 2015

Monday, June 1st, 2015

AO Preview – Venice, Italy – “All the World’s Futures,” the 56th Venice Biennale, May

Sunday, May 3rd, 2015

More Wealthy Collectors Founding Their Own Museums

Thursday, November 20th, 2014

New York – Rudolf Stingel at Gagosian Gallery Through April 19th, 2014

Saturday, April 12th, 2014

AO Recap – Art Basel 2013 in Basel Switzerland, June 13th-16th, 2013

Monday, June 17th, 2013

François Pinault Profiled in Wall Street Journal

Thursday, May 23rd, 2013

Los Angeles – Jonathan Wateridge “Inter + Vista” at L&M Arts, through March 16th, 2013

Thursday, March 7th, 2013

AO On Site at the 54th Venice Biennale 2011: Final Overview and News Summary

Monday, June 6th, 2011

AO On Site at the 54th Venice Biennale 2011: Preview (with photoset) of François Pinault Foundation’s “In Praise of Doubt” at Punta della Dogana, through December 31, 2011

Monday, June 6th, 2011

Go See – New York: ‘Unpainted Paintings’ at Luxembourg & Dayan through May 27th 2011

Friday, May 13th, 2011

Go See: A Certain State of The World? Highlights from the François Pinault Foundation Collection, at The Garage Center for Contemporary Culture, Moscow, through June 14, 2009

Sunday, April 5th, 2009

Jeff Koons sets up at the Palace of Versailles, France in September

Friday, August 8th, 2008

Galleries

Thursday, December 27th, 2007

Francois-Henri Pinault

Tuesday, December 25th, 2007
Global contemporary art events and news observed from New York City. Suggestion? Email us.
NEWS

Sotheby’s to Reset Modigliani Auction Record with Massive $150 Million Estimate this May

April 24th, 2018

Modigliani, via Art NewsSotheby’s will set a new world auction record with Amedeo Modigliani’s Nu couché (sur le côté gauche) at this month’s Impressionist and Modern Sale in New York, with an estimate of more than $150 million. The figure is the highest estimate ever placed on a work of art, and has already been confirmed as a record breaker. “This painting reimagines the nude for the modern era,” says Simon Shaw, the co-head worldwide of Sotheby’s Impressionist and modern art department.
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NYT Spotlights Museums’ Efforts to Highlight Latinx Artists

April 24th, 2018

Clarissa Tossin, via NYTA piece in the New York Times this week notes the increased focus by museums towards Latinx artists.  “We’re at a really important point in history where plural curatorial voices can show not just a survey,” says Marcela Guerrero, who was recently hired as the Whitney’s first curator specializing in Latinx artists. “We can now go deeper and start unpacking what Latino art really is.”
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Anicka Yi Interviewed in Frieze

April 24th, 2018

Anicka Yi, via FriezeAnicka Yi is interviewed in Frieze this week, discussing her practice and what she sees as the next steps for women in the arts. “In general, I learned fairly early on that cisgender, straight-identifying females tend to not help other women,” she says of her early experience in the arts. “It’s not even a conscious malicious act, in most instances. It’s a deep conditioning that somehow distancing yourself from the perceived ‘weaker pack’, with all its attendant baggage, might advance your uniqueness as an individual, making you less prone to be judged as a ‘vulnerable woman’.”
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