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Matisse Family Wins Court Battle

Wednesday, October 25th, 2017

Lawsuit Over Matisse Cut-Outs Filed in Paris

Monday, October 2nd, 2017

London’s National Gallery Contesting Claims Over Matisse Work as Nazi-Loot

Friday, October 28th, 2016

Greta Moll’s Descendants Sue Over Matisse Portrait

Wednesday, September 14th, 2016

Arrest Made in Matisse Trailer Theft

Friday, July 1st, 2016

National Gallery Threatened Over Ownership of Matisse Painting

Tuesday, November 24th, 2015

MoMA To Keep Matisse ‘Swimming Pool’ on Permanent View

Monday, February 16th, 2015

MoMA to Stay Open All Weekend for Last Run of Matisse Cut-Outs Show

Saturday, February 7th, 2015

New York – Henri Matisse: “The Cut-Outs” at MoMA Through February 10th, 2015

Wednesday, January 21st, 2015

Tate Modern Announces Matisse Cut-Outs Show as Most Attended in Museum History

Wednesday, September 17th, 2014

London – Henri Matisse: “The Cut-Outs” at The Tate Modern Through September 7th, 2014

Monday, August 18th, 2014

A Matisse Returns to Venezuela Ten Years After Theft

Tuesday, July 8th, 2014

Gurlitt’s Henri Matisse Determined to be Nazi Loot

Saturday, June 14th, 2014

Tate Modern Announces Show of Matisse’s Final Works

Saturday, April 20th, 2013

Jewish Family Seeks Return of Matisse Seized by Nazis

Saturday, April 6th, 2013

New York – “Matisse: In Search of True Painting” at The Metropolitan Museum of Art, through March 17th, 2013

Sunday, March 17th, 2013

Stolen Matisse Painting Recovered in Essex, England

Monday, January 7th, 2013

AO Onsite Auction Results: Christie’s Impressionist & Modern Evening Sale in New York Brings in $231.4M; Sets Records for Matisse & Gris (UPDATED WITH VIDEO)

Thursday, November 4th, 2010

GO SEE – New York: ‘Matisse: Radical Invention, 1913-1917′ at the Museum of Modern Art through October 11, 2010

Monday, August 2nd, 2010

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

Wednesday, September 30th, 2009

Go See – Madrid: Henri Matisse at Museo Thyssen-Bornemisza Through September 20, 2009

Friday, July 3rd, 2009

Spectacular Yves Saint Laurent auction raises record breaking $264 million, sets records for Mondrian, Matisse

Tuesday, February 24th, 2009

Henri Matisse

Friday, March 7th, 2008

AO Auction Results – London: Phillips 20th Century and Contemporary Evening Sale, March 8th, 2018

Saturday, March 10th, 2018
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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