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Broad Museum Purchases Its Second Yayoi Kusama Infinity Room

Tuesday, March 20th, 2018

David Zwirner to Open New Yayoi Kusama Show in New York

Tuesday, October 24th, 2017

Yayoi Kusama’s Tokyo Museum Opens to Public

Wednesday, September 27th, 2017

Yayoi Kusama Opening Her Own Museum in Tokyo

Wednesday, August 16th, 2017

Yayoi Kusama “Infinity Rooms” Show Smashes Records at Hirshhorn Museum

Wednesday, May 17th, 2017

Washington Post Documents Extensive Work for Kusama Exhibition at Hirshhorn

Tuesday, March 7th, 2017

Yayoi Kusama Interviewed in Washington Post

Thursday, February 16th, 2017

Yayoi Kusama Profiled in WSJ

Wednesday, February 8th, 2017

Yayoi Kusama to Get Wax Statue at Madame Tussauds Hong Kong

Wednesday, October 19th, 2016

Yayoi Kusama Illustrates Hans Christian Andersen’s “The Little Mermaid”

Monday, July 18th, 2016

London – Yayoi Kusama at Victoria Miro through July 30, 2016

Monday, June 27th, 2016

Hirshhorn Planning Massive Yayoi Kusama Exhibition

Friday, May 6th, 2016

Yayoi Kusama Installs “Narcissus Garden” at Glass House

Tuesday, May 3rd, 2016

Yayoi Kusama in 2016 Edition of TIME 100

Thursday, April 21st, 2016

Yayoi Kusama Creating New Sculptural Work for Honolulu Biennial

Wednesday, March 9th, 2016

Yayoi Kusama’s Infinity Rooms Seeing Major Popularity Among Collectors

Tuesday, June 16th, 2015

New York – Yayoi Kusama: “Give Me Love” at David Zwirner Through June 13th, 2015

Friday, June 12th, 2015

Yayoi Kusama Named World’s “Most Popular Artist”

Saturday, April 4th, 2015

Yayoi Kusama Interviewed in The Telegraph

Monday, September 1st, 2014

Yayoi Kusama Profiled in NOWNESS Video

Sunday, April 27th, 2014

Yayoi Kusama Art Directs George Clooney Cover Shoot for W Magazine

Thursday, December 5th, 2013

New York – Yayoi Kusama: “I Who Have Arrived in Heaven” at David Zwirner Through December 21st, 2013

Sunday, November 10th, 2013

London – Yayoi Kusama: “White Infinity Nets” at Victoria Miro, through November 16th 2013

Sunday, November 10th, 2013

Yayoi Kusama Leaves Gagosian Gallery, Signs with David Zwirner

Sunday, February 10th, 2013
Global contemporary art events and news observed from New York City. Suggestion? Email us.
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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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