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Peter Doig Profiled in New Yorker This Week

Wednesday, December 6th, 2017

Peter Doig Takes Stand in Attribution Case

Thursday, August 11th, 2016

Peter Doig at Center of Bizarre Lawsuit Over Work He Claims He Didn’t Paint

Thursday, July 7th, 2016

New York – Peter Doig at Michael Werner Through January 16th, 2016

Tuesday, December 29th, 2015

Venice – Peter Doig at Fondazione Bevilacqua La Masa Through October 4th, 2015

Saturday, May 9th, 2015

Peter Doig to Open Show in Venice During Biennale

Saturday, February 7th, 2015

Basel – Peter Doig at Fondation Beyeler Through March 22nd, 2015

Tuesday, January 20th, 2015

Peter Doig Interviewed in Wall Street Journal

Sunday, December 28th, 2014

Peter Doig Interviewed in “Lunch with the FT”

Saturday, March 8th, 2014

Peter Doig Interviewed in the Telegraph

Monday, August 5th, 2013

Peter Doig Interviewed by New York Times

Friday, July 26th, 2013

Peter Doig Speaks to Demand for his Work and How He Attempts to Ignore It

Sunday, December 16th, 2012

Go See – Berlin: ‘Self-Consciousness’ Curated by Hilton Als and Peter Doig at Veneklasen Werner through June 26th, 2010

Saturday, June 12th, 2010

Go See: Peter Doig Retrospective at the Schirn Kunsthalle, Frankfurt, through January 4, 2009

Friday, October 24th, 2008

GO SEE: PETER DOIG AT TATE BRITAIN, February 25 – April 27

Monday, February 25th, 2008

Peter Doig’s “Country-Rock” Painting Could Reach $15 Million in London Next Week

Thursday, June 26th, 2014

London – Peter Doig: “Early Works” at Michael Werner Gallery Through May 31st, 2014

Friday, May 23rd, 2014

New York – Peter Doig: “Early Works” at Michael Werner, through January 4th 2014

Friday, January 3rd, 2014

London – “Peter Doig: New Paintings” at Michael Werner Gallery, through Dec. 22, 2012

Thursday, October 11th, 2012

AO On Site: Peter Doig, New Paintings, Saturday, January 17th, 2009, on until March 14th, 2009 at Gavin Brown’s Enterprise and Michael Werner Gallery, New York

Monday, January 19th, 2009

Peter Doig

Tuesday, February 26th, 2008

AO Auction Results – New York: Phillips 20th Century and Contemporary Evening Sale, November 16th, 2017

Thursday, November 16th, 2017

AO Auction Results – New York: Christie’s Post-War and Contemporary Evening Sale, November 15th, 2017

Wednesday, November 15th, 2017

AO Auction Preview – Fall Auction Week in New York City, November 13th to 16th, 2017

Monday, November 13th, 2017
Global contemporary art events and news observed from New York City. Suggestion? Email us.
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Economist Explores Implications on Restoration and Appraisal Technology

January 19th, 2018

Rijksmuseum, via ArchdailyA piece in The Economist looks at recent technologies in art appraisal and conservation, and questions how these developments may challenge the authority and stability of work in the field. “In the pursuit of knowledge about works of art, the language of science and that of the humanities both have to be spoken,” claims Robert van Langh, the Rijksmuseum’s head of conservation. 
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Andreas Gursky Speaks on His Early Work for The Guardian

January 19th, 2018

Andreas Gursky, via GuardianThe Guardian has an interview with Andreas Gursky this week, detailing the artist’s early experimentations in a photo of Salermo harbor that brought him to realize his most iconic works. “My teachers, the conceptual artists Bernd and Hilla Becher, had told me to avoid photographing with sunlight, blue sky or strong shadows, he says. “But I thought the warm sunlight here made for something quite kitsch. Also, up until this point, human beings had been the focus of my work – but here there were none in sight. Yet I was overwhelmed by what I saw: the complexity of the image, the accumulation of goods, the cars, the containers. I hadn’t been sure the photograph would work. I just felt compelled. It was pure intuition.”
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Tate Britain Director Alex Farquharson Interviewed in Art Newspaper

January 19th, 2018

Tate Britain, via ArtforumTate Britain director Alex Farquharson is interviewed in the Art Newspaper this week, detailing his vision for a major rehang at the museum. “Tate Britain has an exciting role in presenting art in a societal context, both past and present, so it is a question of the stories that we tell,” he says. “I have set out three pillars that inform our curatorial choices and how we communicate them. These are a trio of relationships: art and society, history and the present, and Britain and the world.”
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