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Art Newspaper Profiles Thomas Kaplan’s Trove of Rembrandt Works

Wednesday, February 22nd, 2017

Rare Rembrandt Drawing Discovered in Braunschweig Museum

Wednesday, February 15th, 2017

Never Exhibited Together Before, Rembrandt Series Goes on View at Ashmolean Museum

Friday, September 16th, 2016

Rare Rembrandt Work to Show at Frick Next Year

Wednesday, August 31st, 2016

de Rothschild Rembrandts on View at Rijksmuseum

Thursday, July 7th, 2016

Amsterdam – Anish Kapoor & Rembrandt van Rijn at Rijksmuseum Through March 6th, 2016

Sunday, January 10th, 2016

Rembrandt May Stay in UK as Buyer Considers Museum Donation

Monday, October 26th, 2015

France Making Efforts to Purchase Rembrandt Work

Monday, September 28th, 2015

Oil Painting Suspected to Be Early Rembrandt Sells for $870,000 in New Jersey

Thursday, September 24th, 2015

Dutch Government Pledges €80 million Towards Rembrandt Portraits

Tuesday, September 22nd, 2015

Painting Reattributed to Rembrandt After Lengthy Research Process

Wednesday, June 10th, 2015

Morgan Library Digitizes Collection of Rembrandt Etchings

Friday, May 23rd, 2014

Restored Rembrandt Placed on View After Lengthy Authentication Process

Wednesday, May 7th, 2014

Rembrandt Painting Recovered After 15 Year Search

Monday, March 24th, 2014

New York – Vermeer, Rembrandt, and Hals: “Masterpieces of Dutch Painting from the Mauritshuis” at The Frick Collection Through January 19th, 2014

Wednesday, December 18th, 2013

Work in British National Trust Identified as £20 million Rembrandt Self-Portrait

Monday, March 18th, 2013

Twice Stolen Rembrandt Recovered in Serbia

Thursday, March 14th, 2013

$27 million worth of Miro, Rembrandt, Matisse and Pollock stolen in Monterey, California

Wednesday, September 30th, 2009

‘Rembrandt Laughing’, now authenticated, worth $30-$40M versus purchase at $4.5M last October

Wednesday, June 25th, 2008

Rembrandt Harmenszoon van Rijn

Monday, March 24th, 2008

‘Age of Rembrandt’ opens at the Met

Friday, September 21st, 2007

National Portrait Gallery to Show Rare Set of Old Masters Drawings

Monday, February 20th, 2017

Boston Students Foil Gallery Break-In

Tuesday, February 14th, 2017

Polish Nation Buys Czartoryski Collection for $118 Million

Tuesday, January 3rd, 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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