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New York — Matthew Barney: “Facility of DECLINE” at Gladstone Gallery Through October 22nd, 2016

Friday, October 21st, 2016

Matthew Barney to Reprise 1991 Works from “Blind Perineum” at Gladstone

Sunday, July 24th, 2016

Matthew Barney Interviewed in New York Times

Sunday, September 20th, 2015

Matthew Barney Retrospective to Open this Fall at MoCA

Wednesday, March 11th, 2015

Matthew Barney Interviewed in The Guardian

Tuesday, June 17th, 2014

Matthew Barney and Gaspar Noé in Conversation for BOMB Magazine

Thursday, April 3rd, 2014

New York – The World Premiere of Matthew Barney and Jonathan Bepler’s “River of Fundament” at BAM

Sunday, March 2nd, 2014

Matthew Barney Interviewed in New York Times Magazine

Sunday, February 9th, 2014

Matthew Barney’s “River of Fundament” to Premiere at BAM in mid-February

Saturday, January 18th, 2014

Matthew Barney Seeks Extras For New Film

Thursday, June 27th, 2013

Matthew Barney Designs Skateboard for Juxtapoz Magazine

Monday, January 14th, 2013

AO On Site with photoset – New York: Opening of Matthew Barney ‘DJED’ at Gladstone Gallery through October 22, 2011

Thursday, October 6th, 2011

Go See – Basel: Matthew Barney's 'Prayer Sheet with the Wound and the Nail' at the Schaulager through October 3rd 2010

Friday, June 25th, 2010

Don't Miss – London: Matthew Barney at Sadie Coles through March 6th 2010

Tuesday, March 2nd, 2010

Matthew Barney and Elizabeth Peyton debut “Blood of Two,” a performance art collaboration in a former slaughterhouse on Hydra Island, Greece

Friday, June 19th, 2009

Go See: Matthew Barney’s ‘Ancient Evenings: Libretto’ at Gladstone Gallery in Brussels through May 9, 2009

Tuesday, April 7th, 2009

A death metal pig roast at Matthew Barney’s studio

Wednesday, August 20th, 2008

Don’t Miss – Matthew Barney in L.A. at Regen

Tuesday, January 8th, 2008

Matthew Barney

Thursday, January 3rd, 2008

Don’t Miss: Matthew Barney

Thursday, November 8th, 2007

MoCA Receives Major Gift of Twenty-Two Contemporary Works

Thursday, March 2nd, 2017

Anicka Yi Wins the 2016 Hugo Boss Prize at the Guggenheim

Friday, October 21st, 2016

New York – Catherine Opie: “Portraits and Landscapes” and “700 Nimes Road” at Lehmann Maupin Through February 20th, 2016

Wednesday, February 10th, 2016

New York – “Storylines” at the Guggenheim Museum Through September 9th, 2015

Wednesday, August 26th, 2015
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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