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New York – Yinka Shonibare: “Wind Sculpture” at Doris C. Freedman Plaza Through October 14th, 2018

Thursday, March 15th, 2018

Yinka Shonibare Interviewed in The Guardian

Saturday, March 10th, 2018

Yinka Shonibare Creating Massive Sculpture for Public Art Fund

Sunday, December 3rd, 2017

New York – Yinka Shonibare MBE: “Rage of the Ballet Gods” at James Cohan Gallery Through June 20th, 2015

Saturday, June 13th, 2015

New York – 1:54 Contemporary African Art Fair at Pioneer Works Through May 6th, 2018

Monday, May 7th, 2018

AO On-Site – New York: The Armory Show at Piers 92 & 94, March 8th – 11th, 2018

Saturday, March 10th, 2018

AO Preview – Art Basel Hong Kong, May 15th – 18th, 2014

Tuesday, May 13th, 2014

New York – AO On Site: Independent Curators International Annual Fall Benefit & Auction, Monday, November 19th, 2012

Tuesday, November 20th, 2012

AO Newslink

Thursday, November 1st, 2012

AO On Site Photoset – Art 43 Basel Vernissage and VIP Preview

Wednesday, June 13th, 2012

AO On Site – London: Elmgreen & Dragset’s Fourth Plinth installation ‘Powerless Structures, Fig. 101′ at Trafalgar Square through February 2013

Thursday, February 23rd, 2012

AO Onsite Auction Results – New York: Contemporary Art Evening Sales at Christie’s and Sotheby’s Bring in Over $550M, Several Artist Records Set

Thursday, November 10th, 2011

AO on site – Art 42 Basel 2011: Art Parcours, contemporary art throughout the historic city of St. Alban Tal, Basel

Sunday, June 19th, 2011

AO Onsite Auction Results – London: Sotheby’s Contemporary Art Evening Auction on Tuesday, February 15, 2011 Raises £44.4 million ($71 million); Richter & Warhol Are Top Lots

Tuesday, February 15th, 2011

AO News Summary: London’s 2012 and 2013 Fourth Plinth Winners Announced: German ‘Hahn/Cock’ and Scandinavian ‘Powerless Structures, Fig. 101′

Sunday, January 16th, 2011

Don’t Miss – London: RCA Secret 2010 Exhibition at the Royal College of Art through November 19, 2010

Thursday, November 18th, 2010

AO On Site – London (with newslink summary): Frieze Art Fair 2010 opens to relatively brisk buying from still measured collectors

Thursday, October 14th, 2010
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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