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Ernst Neizvestny, Sculptor Who Famously Debated Kruschev on Art in 1962, Passes Away at 91

August 22nd, 2016

Ernst Neizvestny, via NYTThe New York Times reports that Ernst Neizvestny, the sculptor who famously debated Nikita Kruschev on aesthetics at a Moscow exhibition, has passed away at the age of 91.  Neizvestny confronted the former Soviet head over an exhibition in 1962, and discussed the arts for some time, arguing in favor of his own modes of abstraction and technique, ultimately impressing Kruschev.  “You’re an interesting man — I enjoy people like you — but inside you there are an angel and a devil,” Kruschev reportedly told him.  “If the devil wins, we’ll crush you. If the angel wins, we’ll do all we can to help you.”
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Tom Sachs Speaks to Pitchfork About Frank Ocean’s Recent Video Piece

August 22nd, 2016

Tom Sachs, via PitchforkPitchfork speaks with Tom Sachs this week, as the artist breaks down his work with Frank Ocean on the recently 40-minute music video piece Endless, in which Ocean constructs a massive staircase piece by piece.  “You see each stair being stacked on top of each other onto a central steel column that’s welded and bolted to the ground,” he says.  “So there’s a transparency to the building that is the same as the transparency in the music.”
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SF Chronicle Gives In-Depth Analysis on Gift of Fisher Collection to SFMoMA

August 22nd, 2016

SFMOMA, via SF ChronicleThe SF Chronicle has a piece this week on the conditions for the donation of the Fisher Collection to SFMoMA, noting that the donation of the collection ultimately requires upwards of 60% of the museum’s space to show works from that collection, limiting the space provided for the museum to show other works, or even place works in conversation with the Fisher collection.  . “What Don was offering was, on the one hand, extremely generous … but Don wanted something that I felt we couldn’t offer him … a kind of curatorial control over what got shown,”Director Neal Benezra says.  “I felt that, as generous as this offer was, our integrity would be at risk,” Benezra said, “because the museum really needs to control, from a curatorial point of view, if nothing else, how art is presented in our building.”
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