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Peter Zumthor Unveils New Plans for LACMA Expansion

Monday, April 10th, 2017

Peter Zumthor to Design Extension for Fondation Beyeler

Thursday, September 15th, 2016

Peter Zumthor Profield in LA Review of Books

Monday, August 24th, 2015

Go See – Vardø, Norway: Peter Zumthor and Louise Bourgeois “The Steilneset” Memorial

Friday, August 26th, 2011

Vision for LACMA Expansion Explored in LA Times Piece

Friday, May 26th, 2017

Details and Renderings Emerge of LACMA Expansion

Wednesday, November 16th, 2016

LACMA Receives Major $75 Million Donation for Expansion Plans

Thursday, April 28th, 2016

LACMA Changes Campus Design to Protect La Brea Tar Pits

Thursday, June 26th, 2014

London – Sou Fujimoto: “Serpentine Gallery Pavilion” at Serpentine Gallery through October 30th, 2013

Tuesday, August 6th, 2013

Sou Fujimoto-designed Serpentine Pavilion Opens in London

Tuesday, June 11th, 2013

London: Serpentine Gallery commissions Ai Weiwei and Herzog & de Meuron collaboration for 2012 Pavilion Series

Tuesday, February 7th, 2012

Go See – Bregenz: Antony Gormley at Kunsthaus Bregenz Through October 4, 2009

Thursday, September 10th, 2009

AO On Site – Basel: ART 40 BASEL opened today, initial reports indicate solid activity

Wednesday, June 10th, 2009
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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