Global contemporary art events and news observed from New York City. Suggestion? Email us.

Archive for April, 2013

Artspace Buys Competitor VIP Art

Wednesday, April 3rd, 2013

Artspace has announced that is in the process of acquiring VIP Art, another online art sales site run by gallerists James and Jane Cohan.  The move broadens Artspace’s number of collectors to well over two hundred thousand, and its list of gallery collaborators to over 200.  “As we augment our gallery presence, we augment our insight into how best to serve galleries and collectors.”  Says Artspace founder Christopher Vroom.
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Ryan McGinley Unveils New Highline Billboard

Tuesday, April 2nd, 2013

The High Line in New York unveiled a new project for its ongoing public works series yesterday, welcoming photographer and filmmaker Ryan McGinley to exhibit his piece Blue Falling (2007) on the billboard at 18th Street and 10th Avenue.  This will be the ninth installation of work at the site, and follows works by John Baldessari, David Shrigley, Maurizio Cattelan and Pierpaolo Ferrari, among others.  The work will be on view until April 30th. (more…)

Dispute Splits Hilma af Klint Foundation

Tuesday, April 2nd, 2013

A major dispute between board members of the Hilma af Klint Foundation is casting a pall on the first major retrospective of the artist in her home country of Sweden.  The dispute arises over several board members’ desires to  sell of works to fund a museum to “anthroposophy,” a school of thought originated by Rudolf Steiner. Ulf  Wagner, one of the accused board members has responded, saying “Legally we would not be allowed to sell her works,” before continuing that this would only apply to major works.  (more…)

New York – Rita Ackermann: “Negative Muscle” at Hauser & Wirth Through April 20th 2013

Tuesday, April 2nd, 2013


Rita Ackermann, “Negative Muscle,” 2010, Negative Muscle, Courtesy Hauser & Wirth Gallery, New York

Hauser and Wirth is currently showing new work by Hungarian-born Rita Ackermann at its uptown location in New York City, featuring an exploration of new forms as well as a striking new set of entries in the artist’s Fire By Days series. (more…)

The Increasingly Intertwined Worlds of Art and Real Estate

Monday, April 1st, 2013

A range of new real estate projects worldwide are embracing the intersections of luxury living and artistic communities, using local artistic cultures to bolster the property offerings of new developments.  Tying creative culture closely with high-value properties, developers and real estate agents are using the creative spirit of their property locations to lure interested buyers. “(These developments) encourage buyers to truly invest in an area and not buy and sell simply to make money.”  Said Argentinian developer Alan Faena.
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U.S. Museums See Increasing Numbers of International Trustees

Monday, April 1st, 2013

Russian billionaire Leonid Mikhelson has joined the board of trustees at The New Museum, mirroring the increasing number of international members on Museum boards across the U.S.  “As art is thriving in so many centers, it is imperative to have an active group of supporters with diverse perspectives and deep connections to these communities.”  Said New Museum director Lisa Phillips. (more…)

Jerry Saltz on “The Death of the Gallery Show”

Monday, April 1st, 2013

Arts critic Jerry Saltz comments on the diminishing role of the gallery show in the contemporary arts environment, noting the effects of increased focus on international fairs, auctions and biennials, and questioning the effects of this shift on the arts community of New York City.  “Fewer ideas are being exchanged, fewer aesthetic arguments initiated. I can’t turn to the woman next to me and ask what she thinks, because there’s nobody there.”  He says. (more…)

Director Danny Boyle Commissions Goya Copies for Newest Film

Monday, April 1st, 2013

Trance, the newest film by British director Danny Boyle features a selection of three recreations of Goya’s Witches in the Air, done by British artist Charlie Cobb.  The replicas were used to emphasize the densely textured surface of the work, as digital replicas or prints can often appear distorted or unconvincing on film.  The work involved the acquiring of rare paints, as well as hours of study viewing the work.  “Just to stand in front of it, you get a real feel for the painting.” says Cobb.
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