Kate Newby

b. Aotearoa New Zealand
Lives and works in Brooklyn, NY

SELECTED SOLO EXHIBITIONS

2020  
As far as you can, Feuilleton, Los Angeles

2019  
Bring Everyone, Fine Arts, Sydney, Sydney
Loved like a sunbeam, Madragoa, Lisbon
Nothing in my life feels big enough, Cooper Cole, Toronto
Wild was the night, Institut d’Art Contemporain, Villeurbanne, France
A puzzling light and moving. (Part II and Part III), lumber room, Portland, OR

2018  
Nothing that's over so soon should give you that much strength, curated by Mathijs van Geest, Hordaland Kunstsenter, Bergen
A puzzling light and moving. (Part I), lumber room, Portland, OR
All the stuff you already know, The Sunday Painter, London
I can't nail the days down, curated by Juliane Bischoff, Kunsthalle Wien, Vienna
Swift little verbs pushing the big nouns around, Michael Lett, Auckland

2017  
Let me be the wind that pulls your hair, curated by Michelle Grabner, Artpace, San Antonio

2016  
Big Tree. Bird's Eye. Michael Lett, Auckland
Tuesday evening. Sunday afternoon. Stony Lake. Cooper Cole, Toronto
Make it bigger, deeper., The Poor Farm, Wisconsin

2015  
Two aspirins a vitamin C tablet and some baking soda, Laurel Doody, Los Angeles
Always humming, curated by Helen Hughes and Pip Wallis, Gertrude Contemporary, Melbourne
I memorized it I loved it so much, Laurel Gitlen, New York

2014  
Laura, Lucy, Mark and Felix, MODELAB, Wellington
I feel like a truck on a wet highway, Lulu, Mexico City
Tiny-but-adventurous, Rokeby, London

2013  
Maybe I won't go to sleep at all., curated by Anne-Claire Schmitz, La Loge, Brussels
Let the other thing in, curated by Nicolaus Schafhausen, Fogo Island Gallery, Newfoundland
What a day., Hopkinson Mossman, Auckland

2012  
All parts. All the time., Olive Street Garden and Fort Greene Park, Brooklyn in association with the NYC Department of Parks and Recreation and the International Studio & Curatorial Program, New York

2011  
I’m just like a pile of leaves, curated by Natasha Conland, Auckland Art Gallery Toi o Tamaki, Auckland (catalogue)
I’ll follow you down the road, Hopkinson Mossman, Auckland

2010  
Crawl out your window, curated by Janneke de Vries, Gesellschaft für Aktuelle Kunst GAK, Bremen

2009  
Get off my garden, Sue Crockford Gallery, Auckland
Blow wind blow, Y3K Gallery, Melbourne

SELECTED GROUP EXHIBITIONS

2020  
As long as you want, two-person exhibition with Paul P., Michael Lett, Auckland
Higher! Higher! Lower, Lower. Louder! Louder! Softer, Softer, Shimmer, Rotterdam
Patterns 11, Anne Mosseri-Marlio Gallerie, curated by Michelle Grabner, Basel
Tiny Things, SEPTEMBER, Hudson, New York

2019  
There Are Exactly Four of Them, CIBRIÁN, San Sebastian
Motion & Motive, organized by Pamela Meredith, Susan Hobbs, Toronto
City Prince/sses, Palais de Tokyo, Paris
The Garden of Cyrus, Fortnight Institute, New York
Indus2, Art : Concept, Paris
Unexplained Parade, Catriona Jeffries, Vancouver
Notebook, curated by Joanne Greenbaum, 56 Henry, New York

2018  
Juliette Blightman, Parbhu Makan, Kate Newby, Henrik Olesen, Michael Lett, Auckland
Further Thoughts on Earthy Materials, curated by Janneke de Vries and Katja Schroeder, Kunsthaus Hamburg, Hamburg
Still Life, co-curated with Candice Madey, SEPTEMBER, Hudson, New York
It was literally the wreck of jewels and the crash of gems..., Nicelle Beauchene Gallery, New York
Dwelling Poetically: Mexico City, a case study, curated by Chris Sharp, Australian Centre for Contemporary Art, Melbourne (catalogue)
Superposition: Equilibrium & Engagement, 21st Biennale of Sydney, curated by Mami Kataoka, Cockatoo Island and the Art Gallery of New South Wales, Sydney (catalogue)
Ritual, Aspen Art Museum, Aspen

2017  
Appendix Toss, SORT, Vienna
Leotta/Newby, Madragoa Embora, Lisbon
Belonging to a Place, An exhibition by Fogo Island Arts, curated by Nicolaus Schafhausen, Scrap Metal, Toronto (catalogue)
The Promise, curated by Axel Wieder, Index - The Swedish Contemporary Art Foundation, Stockholm
In Practice: Material Deviance, curated by Alexis Wilkinson, SculptureCenter, New York (catalogue)
JADE BI, curated by Sara De Chiara, Galeria Madragoa, Lisbon

2016  
Exhibition by 31 Women, Philipp Pflug Contemporary, Frankfurt
A plot of land, Dutton, New York
Every day I make my way, Minerva, Sydney

2015  
Natural Flavor, curated by Vivien Trommer, Ludlow 38, New York
The Secret and Abiding Politics of Stones, curated by Chris Sharp, Casa del Lago, Mexico City (catalogue)
Homeful of Hands, Josh Lilley, London
Ordering Nature, Marianne Boesky, New York
Inside Outside Upside Down, curated by Natasha Conland, Auckland Art Gallery Toi o Tamaki, Auckland
Parallel Oaxaca at Supplement London, Supplement, London Lunch Poems, Hopkinson Mossman, Auckland Where the trees line the water that falls asleep in the afternoon, curated by Chris Sharp, P420, Bologna Inside the City, curated by Janneke de Vries, GAK Gesellschaft für Aktuelle Kunst, Bremen NEW 15, curated by Matt Hinkley, Australian Centre for Contemporary Art, Melbourne (catalogue) An Imprecise Science, curated by Alexie Glass-Kantor, Artspace, Sydney Eraser, Laurel Gitlen, New York

2014  
The Promise, curated by Axel Wieder, Arnolfini, Bristol
On The Blue Shore of Silence, Tracy Williams Gallery, New York
Portmanteaux, Hopkinson Mossman, Auckland
Thin Air, Slopes, Melbourne
Lovers, curated by Martin Basher, Starkwhite, Auckland
Slip Cast, Dowse Museum, Lower Hutt

2013  
because the world is round it turns me on, curated by Clara Meister, Arratia Beer, Berlin
Mud and Water, Rokeby, London
The things we know, curated by Tim Saltarelli, Henningsen Gallery, Copenhagen
Between being and doing, Utopian Slumps, Melbourne

2012  
Crawl out your window, Walters Prize exhibition, Auckland Art Gallery Toi o Tamaki, Auckland (catalogue)
Everyone knows this is nowhere, curated by Louise Menzies and Jon Bywater, castillo/corrales, Paris

2011  
Prospect: New Zealand Art Now, curated by Kate Montgomery, Wellington City Gallery, Wellington
Melanchotopia, curated by Nicolaus Schafhausen and Anne-Claire Schmitz, Witte de With, Rotterdam

2010  
Burnt house. A little later, Gambia Castle, Auckland
Bas Jan Ader: Suspended between Laughter and Tears, curated by Pilar Tompkins Rivas, Pitzer Art Galleries and Claremont Museum of Art, Los Angeles
post-Office, Artspace, Auckland
The sky a tree and a wall, collaboration with Fiona Connor, California Institute for the Arts, Los Angeles

2009  
The Future is Unwritten, curated by Laura Preston, The Adam Art Gallery, Wellington

2008  
Brussels Biennial 1, curated by Nicolaus Schafhausen and Florian Waldvogel, Brussels (catalogue)
Break: Towards a Public Realm, curated by Melanie Oliver, Govett-Brewster Art Gallery, New Plymouth
Let it be now, Christchurch Art Gallery, Christchurch
Hold Still, curated by Claire Doherty, One Day Sculpture, Auckland
Academy, TCB, Melbourne
Many directions, as much as possible, all over the country, 1301PE, Los Angeles

EDUCATION

2015   Doctorate of Fine Art (DocFA), University of Auckland
2007   Masters of Fine Art (MFA), University of Auckland
2001   Bachelor of Fine Art (BFA), University of Auckland

AWARDS & RESIDENCIES

2019   The Joan Mitchell Foundation - 2019 Painters & Sculptors Grant
2017   The Chinati Foundation Artist in Residence, Marfa, Texas
2017   Spring International Artist in Residence Program, curated by Michelle Grabner, Artpace, San Antonio, TX
2015   Gertrude Contemporary Art Spaces, Artist in Residence, Melbourne
2012-13   Fogo Island Arts, Artist in Residence, Newfoundland
2012   The Walters Prize, Auckland Art Gallery Toi o Tāmaki, Auckland
2012   International Studio & Curatorial Program ISCP, Artist in Residence, New York
2010   SOMA, Artist in Residence, Mexico City
2010   Theatre of Erosion or I Hate Work This is not a Play (with Geoffrey Farmer), Artist in Residence Banff Centre, Banff
2010   Künstlerhäuser, Artist in Residence, Worpswede, Germany

PUBLICATIONS

2019   “Kate Newby, Pocket Works”, published by the lumber room with texts by Sara Jaffe, Jennifer Kabat, Sarah Miller Meigs, Eileen Myles, Sarah Sentilles, Stephanie Snyder and Kyle Dancewicz
2019   “I can’t nail the days down”, edited by Kunsthalle Wien and published by Sternberg Press, Berlin with texts by Christina Barton, Juliane Bischoff, Chris Kraus, and Nicolaus Schafhausen
2013   “Incredible feeling”, Clouds Publishing, Auckland with texts by Sarah Hopkinson, Chris Kraus, and Tahi Moore
2013   “Let the other thing in”, Fogo Island Arts and Sternberg Press, Berlin texts by Mami Kataoka, Jennifer Kabat, and Paul Dean

ARTIST BOOKS

2018   “Nothing that's over so soon should give you that much strength”, Hordaland Kunstsenter, Bergen
2017   “Swift little verbs pushing the big nouns around”, The Chinati Foundation, Marfa
2017   “Let me be the wind that pulls your hair”, Artpace, San Antonio
2012   “I went from a 5 to a 7”, Fiona Connor and Kate Newby, Los Angeles
2011   “The sky, the wall and a tree”, Fiona Connor and Kate Newby, Gambia Castle Press, Auckland
2008   “Holding onto it only makes you sick”, Gambia Castle Press, Auckland
2007   “My Poetry”, for example, Auckland
2007   “Architecture for Specific People”, Gambia Castle Press, Auckland
2003   “Money for Nothing”, Artspace, Auckland

SELECTED REVIEWS & ARTICLES

2020   Anna Gaissert, “Kate Newby at Feuilleton,” Artillery Magazine, July 16.
2020   Rosanna Albertini, “Kate Newby: As far as you can,” The Kite, July
2020   Neha Kale, '“Kate Newby: Small Gestures,” Vault, February, Issue 29 p52-57.
2019   Claudia Arozqueta, “Kate Newby’s “Bring Everyone,”” Art-Agenda, December
2019   Jon Raymond, “Kate Newby; lumber room,” Artforum, May.
2019   Chris Kraus, "Chris Kraus on learning to cope after the Brett Kavanaugh debacle,” Sleek Magazine, Berlin, March 20.
2019   Ross Simonini, “Kate Newby,” Art Review, January & February, p36–41.
2018   Chris Kraus, “Kate Newby’s Bones,” Social Practices, Semiotext(e)
2018   Sam Korman, “How to distribute your bricks and virtue,” published on the occasion of All the stuff you already know, The Sunday Painter, London
2018   Chloe Geoghegan, “Kate Newby: I can’t nail the days down,” Contemporary Hum, August 8.
2018   Chris Sharp, “Following Kate Newby down the road,” Mousse, 64, Summer
2018   Figgy Guyver, “Critic’s Guide to London: The Best Shows in Town,” Frieze, May 30.
2018   Vivien Trommer, “Highlight 5/12 - Kunsthalle Wien,” Cuba Paris
2018   Alexandra-Maria Toth, “Kate Newby: I Can’t Nail the Days Down,” PW-Magazine, September 4.
2018   Eloise Callister-Baker, “The Unmissables: Four Exhibitions to see in March,” Pantograph Punch
2018   Sue Gardiner, “The meaning of molecules,” Art News New Zealand, vol.38, no.2, Winter, p.92–94.
2018   Jon Bywater, “Evangelism & clay : The 21st Biennale of Sydney,” Art New Zealand, no.166, Winter 2018, p.72–75.
2017   Chris Kraus, “Splodges of Color,” Swift little verbs pushing the big nouns around (artist book essay)
2017   Neil Fauerso, “Artpace Spring Artist-in-Residence Exhibition,” Glasstire, April 3.
2017   Linnea West, “Phone tag: Interview with Kate Newby,” Phone Tag, April 23.
2016   Anthony Byrt, “Quiet wanderer: Kiwi sculptor Kate Newby,” Paperboy, November 30.
2016   Jennifer Kabat, “To Write About A Hole,” VQR, Fall, Volume 92, #4, October 3.
2016   Rosanna Albertini, “Kate Newby: don’t be all scared like before,” The Kite, March 25.
2015   Roberta Smith, “Kate Newby and Helen Johnson at Laurel Gitlen,” New York Times, July 17.
2015   Chris Sharp, “Kate Newby,” NEW15 (catalogue essay)
2015   Maura Edmond, “Kate Newby ‘Always humming,” Primer, August 13.
2015   Rosanna Albertini, Kate Newby: Silent Bricks,” The Kite, November
2015   Daniel Munn, “Life Lived Outside,” Le Roy 3
2015   Chris Sharp, “Eye of the Beholder,” Osmos, Issue 06, Summer.
2015   Kate Sutton, “Kate Newby; Laurel Doody,” Artforum, February, 246.
2014   Jennifer Kabat, “In Focus: Kate Newby,” Frieze, Issue 161, March 12.
2014   Francisco Goldman, “Mexico City Mix,” National Geographic Traveller, December/January, p14.
2014   Leslie Moody Castro, “Lulu, Mexico City,” Artforum online
2014   Matt Hanson, “Newby in Mexico City,” Eye Contact, September 12.
2014   Jennifer Kabat, “The Small Often Vague Things – Kate Newby’s Radically Slight Art,” The Weeklings, June 12.
2014   Hamish Coney, “Breakfast in America,” Content Magazine, November 5, 2014, p5–6.
2013   Mami Kataoka, “I like works when their condition as art is unclear,” in Kate Newby: Let the other thing in, Sternberg Press
2013   Jennifer Kabat, “It’s The Small Often Vague Things,” in Kate Newby: Let the other thing in, Sternberg Press
2013   Kay Burns, “Kate Newby: Let the Other Thing in,” C Magazine, Issue 120, Winter, p67–68.
2012   Julia Waite, “If not concrete then what? Kate Newby’s I’m just like a pile of leaves Archive,” Reading Room, Issue 5, July, p196–197.
2012   Sam Eichblatt, “Occupy Brooklyn,” Metro Magazine, Issue 363.
2012   Sue Gardiner, “Aspiring to the condition of architecture,” Artnews, Spring 2011.
2010   Jon Bywater, “Discreet Poetry: Kate Newby’s ‘Get off my garden’” (exhibition essay)
2009   Sue Gardiner, “You really had to be there!,” Artnews, Autumn
2008   Louise Menzies, “Kate Newby & Nick Austin,” Frieze online