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David Zwirner Now Represents Estate of Roy DeCavara

Tuesday, June 12th, 2018

Hauser & Wirth Now Represents Estate of Günther Förg

Friday, June 1st, 2018

LACMA Partners with Arizona State to Create Curator Program Encouraging Diversity and New Voices

Thursday, May 10th, 2018

British Artists Decry State of Nation’s Arts Education System

Thursday, May 10th, 2018

David Zwirner Gallery to Represent Estate of Joan Mitchell

Thursday, May 3rd, 2018

Tate Announces Shortlist for Turner Prize

Thursday, April 26th, 2018

Tate Seeking Young Trustee for Museum Leadership

Friday, April 20th, 2018

Tate Archives Showcases Founding of New Outposts

Friday, April 20th, 2018

Thaddaeus Ropac to Represent Joseph Beuys Estate

Friday, April 13th, 2018

Helen Legg to Take Over at Tate Liverpool

Tuesday, March 20th, 2018

Tania Bruguera Tapped for Tate Modern’s Turbine Hall

Saturday, February 24th, 2018

Group of Arts Professionals Call for Beatrix Ruff’s Reinstatement at Stedelijk

Saturday, February 24th, 2018

Tate Britain Director Alex Farquharson Interviewed in Art Newspaper

Friday, January 19th, 2018

Tate Museum and National Galleries Scotland Break Relationships with Anthony d’Offay Over Claims of Sexual Harassment

Monday, January 15th, 2018

Tate Modern Aims at Current Events with Pair of Tank Installations

Tuesday, December 19th, 2017

Marianne Boesky Represents Estate of Maria Lai

Tuesday, November 28th, 2017

Laura Owens Makes Statement on Protests Against 356 S. Mission Rd

Thursday, November 16th, 2017

Former Tate Britain Director Penelope Curtis Leaves Her Mark on Portugal’s Museu Calouste Gulbenkian

Wednesday, November 1st, 2017

Met Issues Statement on US Withdrawal from Unesco

Tuesday, October 17th, 2017

United States Withdrawing from Unesco

Sunday, October 15th, 2017

Guardian Profiles Tate St. Ives’s Local Balancing Act

Tuesday, October 3rd, 2017

Tate Modern’s Superflex Turbine Hall Installation Profiled in The Guardian

Monday, October 2nd, 2017

Sotheby’s to Sell Works from Estate of Painter Howard Hodgkin

Monday, September 11th, 2017

Chris Ofili to Fly ‘Union Black’ Flag Outside The Tate Britain

Monday, July 3rd, 2017
Global contemporary art events and news observed from New York City. Suggestion? Email us.
NEWS

Market Thrives for Kerry James Marshall

June 19th, 2018

Kerry James Marshall, via NPRThe Art Newspaper looks at the thriving popularity of the work of Kerry James Marshall, after a record-breaking auction price drove new interest in his work, and a rampant demand for pieces, including those about to go on view at a show at David Zwirner’s London location. “We might not even keep a waiting list for the exhibition,” Zwirner says. “It’s going to be very hard to get a painting from that show, that’s for sure.”
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Theaster Gates Asks Collectors: “Support Artists That Live in Your Cities”

June 19th, 2018

Theaster Gates, via The GuardianTheaster Gates made a statement on supporting young artists in remarks last night at a party in Basel, asking collectors to support young artists making and selling their work. “You guys, I know that I’m the byproduct of people saying yes when they didn’t know me, saying yes at my potential and the possibility of the thing,” he said. “Throwing small dinners with me with five people that has turned into dinners for 200. I’m just grateful.”
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Art Newspaper Looks at Costs and Rewards of Major Art Prizes

June 19th, 2018

Glasgow-born artist Susan Philipsz is congratulated by friends and family after hearing that she has won the Turner Prize 2010, at the Tate Britain gallery, in central LondonA piece in Art Newspaper this week asks if arts awards really carry many of the benefits for winners that they claim, looking at a range of examples including a recent protest by a group of artists nominated for Germany’s Berlin Nationalgalerie Prize. “There is an unspoken assumption that the participants are likely to be remunerated by the market as a result of being nominated for or winning the prize,” the artists nominated for this prize said in an open statement. “We know that this is not always the case. The logic of artists working for exposure feeds directly into the normalization of the unregulated pay structures ubiquitous in the art field.”
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