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Rijksmuseum Attributes Six New Works to Hercules Segers

Wednesday, September 21st, 2016

de Rothschild Rembrandts on View at Rijksmuseum

Thursday, July 7th, 2016

Rijksmuseum Makes 250,000 Works from Collection Available Online

Friday, July 1st, 2016

Taco Dibbits to Take Helm at Rijksmuseum

Monday, May 30th, 2016

Rijksmuseum Head Leaving Institution for Private Museum

Saturday, March 5th, 2016

Amsterdam – Anish Kapoor & Rembrandt van Rijn at Rijksmuseum Through March 6th, 2016

Sunday, January 10th, 2016

The Rijksmuseum Opens Outdoor Exhibition of Calder Sculptures

Tuesday, June 24th, 2014

Rijksmuseum Identifies 139 Looted Artworks in Collection

Friday, November 1st, 2013

Rijksmuseum Buys Mostaert Painting of Early America

Friday, July 5th, 2013

Rijksmuseum Reopens After 10 Years

Thursday, April 4th, 2013

Economist Explores Implications on Restoration and Appraisal Technology

Friday, January 19th, 2018

Frans Haals Forgery Profiled in NYT

Thursday, October 27th, 2016

Wim Pijbes Quits Post at Museum Voorlinden

Wednesday, September 28th, 2016

Getty and NICAS Partner for Development Program for Conservation Technology

Tuesday, March 22nd, 2016

France Making Efforts to Purchase Rembrandt Work

Monday, September 28th, 2015

Dutch Government Pledges €80 million Towards Rembrandt Portraits

Tuesday, September 22nd, 2015

Frankfurt – Albrecht Dürer: “Dürer: His Art in Context” at the Städel Museum, through February 2nd 2014

Friday, January 31st, 2014

London – “Daumier (1808-1879): Visions of Paris” at Royal Academy of Arts, Burlington House, through January 26th 2014

Friday, December 20th, 2013

To Increase Visitorship, Museums Turn to Digital Distribution

Wednesday, May 29th, 2013

AO Newslink

Thursday, September 6th, 2012

Monday, September 26th, 2011

Don’t Miss – Amsterdam: ‘Taking Place’ at the Stedelijk Museum through January 9th, 2011

Friday, January 7th, 2011

Art News: Damien Hirst’s diamond-encrusted human skull “For The Love of God” to be displayed at the Palazzo Vecchio in Florence until May 2011

Saturday, November 27th, 2010

Go See- New York: "Miró: The Dutch Interiors" at The Metropolitan Museum of Art through January 17, 2011

Wednesday, October 6th, 2010
Global contemporary art events and news observed from New York City. Suggestion? Email us.
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Economist Explores Implications on Restoration and Appraisal Technology

January 19th, 2018

Rijksmuseum, via ArchdailyA piece in The Economist looks at recent technologies in art appraisal and conservation, and questions how these developments may challenge the authority and stability of work in the field. “In the pursuit of knowledge about works of art, the language of science and that of the humanities both have to be spoken,” claims Robert van Langh, the Rijksmuseum’s head of conservation. 
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Andreas Gursky Speaks on His Early Work for The Guardian

January 19th, 2018

Andreas Gursky, via GuardianThe Guardian has an interview with Andreas Gursky this week, detailing the artist’s early experimentations in a photo of Salermo harbor that brought him to realize his most iconic works. “My teachers, the conceptual artists Bernd and Hilla Becher, had told me to avoid photographing with sunlight, blue sky or strong shadows, he says. “But I thought the warm sunlight here made for something quite kitsch. Also, up until this point, human beings had been the focus of my work – but here there were none in sight. Yet I was overwhelmed by what I saw: the complexity of the image, the accumulation of goods, the cars, the containers. I hadn’t been sure the photograph would work. I just felt compelled. It was pure intuition.”
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Tate Britain Director Alex Farquharson Interviewed in Art Newspaper

January 19th, 2018

Tate Britain, via ArtforumTate Britain director Alex Farquharson is interviewed in the Art Newspaper this week, detailing his vision for a major rehang at the museum. “Tate Britain has an exciting role in presenting art in a societal context, both past and present, so it is a question of the stories that we tell,” he says. “I have set out three pillars that inform our curatorial choices and how we communicate them. These are a trio of relationships: art and society, history and the present, and Britain and the world.”
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