Search Results

AO On Site: Francesco Clemente “A History of the Heart in Three Rainbows” at Deitch Projects New York, through May 30th, 2009

Sunday, May 3rd, 2009

Enoc Perez

Thursday, January 3rd, 2008

Museum of Contemporary Art San Diego

Tuesday, December 25th, 2007

René Morales Named Director of Curatorial Affairs and Chief Curator at PAMM

Tuesday, January 28th, 2020

PAMM Chief Curator to Step Down

Thursday, July 18th, 2019

Frieze New York Announces Curators for 2019 Special Sections

Friday, December 21st, 2018

Jorge Pérez Accuses Miami-Dade County of Politically Motivated Funding Cuts

Wednesday, December 6th, 2017

NADA Miami Beach Launches Acquisition Fund for PAMM

Wednesday, October 4th, 2017

New York – “Empirical Intuitive Abstraction” Organized by Matthew Ronay at Andrea Rosen Through August 5th, 2016

Thursday, July 21st, 2016

New York – Doris Salcedo at The Guggenheim Through October 12th, 2015

Wednesday, September 9th, 2015

AO ON SITE: STEFAN SAGMEISTER OPENING AT DEITCH PROJECTS

Friday, February 1st, 2008
Global contemporary art events and news observed from New York City. Suggestion? Email us.
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Study of Da Vinci’s ‘Mona Lisa’ Reveals Charcoal Underdrawing

September 29th, 2020

A new study of the Mona Lisa has revealed a charcoal underdrawing, indicating a sketch of the work before its completion. “These discoveries increase and increase the mystery of its creation, in the end we understand that it is the work of a very long ‘creative act’—which spans more than a decade and in several stages,” says researcher Pascal Cotte.
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Student Finds Early Edward Hopper Paintings to be Copied from Earlier Works

September 29th, 2020

A new study into the work of Edward Hopper by a doctoral candidate at the Courtauld Institute in London shows that some of the artist’s early works are copies of works from a magazine for amateur artists. 
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Bruce Nauman Profiled in The Guardian

September 29th, 2020

Bruce Nauman speaks with The Guardian this week, as the artist prepares to open a major retrospective at Tate Modern. “I remember someone coming to the studio and saying, ‘You must be very depressed,’” he notes. “I said that I didn’t think so, otherwise I wouldn’t be making work. A lot of things got worked out through the work. Different kinds of anger and frustration.”
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