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The Economist Looks at the Development of the Louvre Abu Dhabi

Thursday, November 27th, 2014

Louvre Abu Dhabi to Receive 300 Works in Loan from France

Monday, October 13th, 2014

Louvre, Musee d’Orsay and Versailles to Remain Open 7 Days a Week

Saturday, October 4th, 2014

Louvre Director Sets Sights on Ambitious Renovation

Tuesday, September 9th, 2014

Louvre Abu Dhabi to Receive 300 Loaned Works from Paris Museums

Tuesday, July 29th, 2014

Winged Victory of Samothrace Returns to Place at Louvre

Sunday, July 13th, 2014

The Louvre Set to Restore Winged Victory Next Month

Saturday, August 24th, 2013

Abu Dhabi Displeased Over Unspent €25 Million Gift to Louvre

Friday, May 10th, 2013

The Louvre Shuttered by Strike Over Pickpockets

Friday, April 12th, 2013

French Government Announces New Director for The Louvre

Thursday, April 4th, 2013

Henri Loyrette, Director of Musée du Louvre, to Leave Post in 2013

Tuesday, December 18th, 2012

Louvre opens its first outpost in Lens, France

Saturday, December 1st, 2012

AO on site – Paris: Tony Cragg, “figure out/figure in” at Le Louvre through April 25, 2010

Thursday, February 3rd, 2011

AO On Site – Paris: FIAC 2010 begins at the Grand Palais and the Cour Carrée du Louvre through Sunday October 24th

Tuesday, October 19th, 2010

Go See – Paris: Cy Twombly’s permanent installation ‘The Ceiling’ at Musée du Louvre

Friday, April 23rd, 2010

The Louvre begins building $135 million Islamic art wing

Tuesday, August 5th, 2008

Louvre Museum Paris

Tuesday, February 12th, 2008

Jeff Koons Paris Sculpture Gets Editorial Support from French Art Professionals

Sunday, February 25th, 2018

WSJ Reports Buyer of da Vinci’s ‘Salvator Mundi’ as Saudi Crown Prince

Friday, December 8th, 2017

Saudi Prince Reportedly Buyer of da Vinci’s ‘Salvator Mundi

Friday, December 8th, 2017

Atelier Van Lieshout Work to Go to Centre Pompidou

Tuesday, October 17th, 2017

Sculpture Pulled from FIAC Sculpture Show Over Explicit Content

Wednesday, October 4th, 2017

Athens – Divine Dialogues: Cy Twombly and Greek Antiquity at the Museum Of Cycladic Art Through September 3, 2017

Wednesday, August 30th, 2017

Art Newspaper Profiles Thomas Kaplan’s Trove of Rembrandt Works

Wednesday, February 22nd, 2017
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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