Kate Newby (b. 1979, Auckland, New Zealand) works with installation, textile, ceramics, casting and glass. Her work explores the limits and nature of sculpture, not only in space but also where and how sculpture happens. She received her DocFA and MFA from the Elam School of Fine Arts at the University of Auckland. She has shown internationally at such venues as Auckland Art Gallery, Hopkinson Mossman, Auckland, New Zealand; Australian Centre for Contemporary Art, Gertrude Contemporary, Melbourne; Minerva, Artspace, Sydney, Australia; Fogo Island Gallery, Newfoundland, Canada; Sculpture Center, Marianne Boesky, Laurel Gitlen, Ludlow 38, New York; Laurel Doody, Los Angeles, USA; Lulu, Mexico City, Mexico; La Loge, Brussels, Belgium; Philipp Pflug Contemporary, Frankfurt, Germany; P420, Bologna, Italy; Josh Lilley, London; Arnolfini, Bristol, UK. Newby currently lives and works between Auckland, New Zealand and Brooklyn, USA.

CV

Born 1979, Auckland, New Zealand
Lives between Auckland, New Zealand and Brooklyn, USA

Education

2015
Doctorate of Fine Art, Elam School of Fine Arts, University of Auckland

2007
Masters of Fine Art, Elam School of Fine Arts (1st Class Honors), University of Auckland

2001
Bachelor of Fine Arts, Elam School of Fine Arts, University of Auckland

Selected Solo Exhibitions

2018
TBA, The Sunday Painter, London, UK (forthcoming)

TBA, The Lumber Room, Portland, USA (forthcoming)

2017
Let me be the wind that pulls your hair, Artspace, San Antonio, USA

2016
Big Tree. Bird’s Eye., Michael Lett, Auckland, New Zealand

Tuesday evening. Sunday afternoon. Stony Lake, COOPER COLE, Toronto, Canada

2015
Two aspirins a vitamin C tablet and some baking soda, Laurel Doody, Los Angeles, USA

Always humming, curated by Helen Hughes and Pip Wallis, Gertrude Contemporary, Melbourne, Australia

I memorized it I loved it so much, Laurel Gitlen, New York, USA

Gertrude Contemporary, Melbourne, Australia

2014
Laura, Lucy, Mark and Felix, MODELAB, Wellington, New Zealand

I feel like a truck on a wet highway, Lulu, Mexico City, Mexico

Tiny-but-adventurous, Rokeby, London, UK

2013
Maybe I won’t go to sleep at all, curated by Anne-Claire Schmitz, La Loge, Brussels, Belgium

Let the other thing in, curated by Nicolaus Schafhausen, Fogo Island Gallery, Newfoundland, Canada

What a day., Hopkinson Mossman, Auckland, New Zealand

How funny you are today, New York, Greene Acres Garden, Clinton Hill, Brooklyn, USA

2012
Crawl out your window, Walters Prize exhibition, Auckland Art Gallery Toi o Tamaki, Auckland, New Zealand

All parts. All the time., Olive St. Garden, in association with New York City Department of Parks & Recreation and International Studio and Curatorial Program ISCP, Brooklyn, USA

How funny you are today New York, Fort Greene Park, in association with New York City Department of Parks & Recreation and International Studio and Curatorial Program ISCP, Brooklyn, USA

2011
Do more with your feeling, Sunday Art Fair with Hopkinson Mossman, London, UK

I’m just like a pile of leaves, curated by Natasha Conland, Auckland Art Gallery, Auckland, New Zealand

I’ll follow you down the road, Hopkinson Mossman, Auckland, New Zealand

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

Burnt house. A little later, Gambia Castle, Auckland, New Zealand

2009
Get off my garden, Sue Crockford Gallery, Auckland, New Zealand

Blow wind blow, Y3K Gallery, Melbourne, Australia

2008
Thinking with your body, Gambia Castle, Auckland, New Zealand

2007
My Poetry, for example, Rooftop and vacant plot, Symonds Street, University of Auckland, New Zealand

On the Benefits of Building, Gambia Castle, Auckland, New Zealand

A Windy Fire, Te Tuhi, Auckland, New Zealand

2005
Very Interesting, Very International, site-specific projects; Agile, Brooklyn, Berlin, Copenhagen

2002
My Blues Song, Starkwhite, Auckland, New Zealand

Selected Group Exhibitions

2017
Belonging to a Place: An Exhibition by Fogo Island Arts, Scrap Metal Gallery, Toronto, Canada (forthcoming)

The Promise, curated by Axel Wieder, Index, Stockholm, Sweden (forthcoming)

Of everything that disappears there remain traces, curated by Lauren Ravi, The Honeymoon Suite, Melbourne, Australia

Three-person exhibition with Mark Hilton and Tove Storch, Raising Cattle, Montreal, Canada

In Practice: Material Deviance, Sculpture Center, Long Island City, USA

JADE BI, Galeria Madragoa, Lisbon, Portugal

2016
31 Women, Philipp Pflug Contemporary, Frankfurt, Germany

A plot of land, Dutton, New York, USA

The January February March, with Jennifer Kabat, curated by Brad Killman and Michelle Grabner, The Poor Farm, Manawa, USA

Every day I make my way, Minerva, Sydney, Australia

Light switch and conduit: the Jim Barr and Mary Barr collection, Dunedin Public Art Gallery, Dunedin, New Zealand

White Columns Benefit Exhibition, White Columns, New York, USA

2015
Natural Flavor, curated by Vivien Trommer, Ludlow 38, New York, USA

Art Basel Miami Beach, Laurel Gitlen, Miami, USA

Thought Cupboard, The Dowse, Wellington, New Zealand

Paris Internationale, Laurel Gitlen, Paris, France

The Secret and Abiding Politics of Stones, curated by Chris Sharp, Casa del Lago, Mexico City, Mexico

Homeful of Hands, Josh Lilley, London, UK

Lunch Poems, Hopkinson Mossman, Auckland, Australia

Ordering Nature, Marianne Boesky, New York, USA

5×5, curated by John Parker, Hastings City Art Gallery, Hastings, New Zealand

Inside Outside Upside Down, curated by Natasha Conland, Auckland Art Gallery Toi o Tamaki, Auckland, New Zealand

Parallel Oaxaca at Supplement London, Supplement, London, UK

Sculpture Centre Lucky Draw, Sculpture Centre, New York, USA

There Is Only One Catch And That Is Catch-22, curated by Blanca de la Torre, Y Gallery, New York, USA

NEW 15, curated by Matt Hinkley, Australian Centre for Contemporary Art, Melbourne, Aistralia

An Imprecise Science, Artspace Sydney, Sydney, Australia

Inside the City, curated by Janneke de Vries, GAK Gesellschaft für Aktuelle Kunst, Bremen, Germany

Eraser, Laurel Gitlen, New York, USA

Material Art Fair, Lulu, Mexico City, Mexico

2014
The Promise, curated by Axel Wieder, Arnolfini, Bristol, UK

Fin, Utopian Slumps, Melbourne, Australia

Spaces, Dowse Museum, Lower Hutt, New Zealand

Portmanteaux, Hopkinson Mossman, Auckland, New Zealand

Thin Air, Slopes, Melbourne, Australia

Slip Cast, Dowse Museum, Lower Hutt, New Zealand

Lovers, curated by Martin Basher, Starkwhite, Auckland, New Zealand

Mud and Water, Rokeby, London, UK

2013
because the world is round it turns me on, curated by Clara Meister, Arratia Beer, Berlin, Germany

The things we know, curated by Tim Saltarelli, Henningsen Gallery, Copenhagen, Denmark

Third/Fourth Artist Facilitated Biennial, Margaret Lawrence Gallery, Melbourne, Australia

Between being and doing, Utopian Slumps, Melbourne, Australia

2012
Everyone knows this is nowhere, castillo/corrales, Paris, France

Running on Pebbles: through lines with incidents and increments, curated by Allan Smith, Snakepit, Auckland, New Zealand

2011
Prospect: New Zealand Art Now, curated by Kate Montgomery, Wellington City Gallery, Wellington, New Zealand

Melanchotopia, curated by Nicolaus Schafhausen and Anne-Claire Schmitz, Witte de With, Rotterdam, Netherlands

Out of a stone, curated by Daniel Munn, Banner Repeater, London, UK

Bas Jan Ader: Suspended between Laughter and Tears, curated by Pilar Tompkins Rivas, Museo de Arte Zapopan (MAZ), Guadalajara, Mexico

2010
Black Door Files, Black Door, Istanbul, Turkey

Bas Jan Ader: Suspended between Laughter and Tears, curated by Pilar Tompkins Rivas, Pitzer Art Galleries and Claremont Museum of Art, Los Angeles, USA

post-Office, Artspace, Auckland, New Zealand

Texticles, curated by Ron McHaffie and Lisa Radford, TCB at the Melbourne Art Fair, Melbourne, Austalia

The sky, a window and a tree, in collaboration with Fiona Connor, CalArts, Los Angeles, USA

2009
Cross Coloring, Hell Gallery, Melbourne, Australia

IN CASE IT RAINS, IT MIGHT INVOLVE WATER, curated by Marijke Appleman for ADSF, Rotterdam, Netherlands

The Future is Unwritten, The Adam Art Gallery, Wellington, New Zealand

Today is OK, Gallery Manuela Klerkx, Milan, Italy

2008
Brussels Biennial 1, curated by Nicolaus Schafhausen and Florian Waldvogel, Brussels, Belgium

Break: Towards a Public Realm, Govett-Brewster Art Gallery, New Plymouth, New Zealand

Give us a sign, Courtney Place Light Boxes, in association with City Gallery, Wellington, New Zealand

Run!, Window, Auckland, New Zealand

Let it be now, Christchurch Art Gallery, Christchurch, New Zealand

4th Y2K Melbourne biennale of art and design, TCB, Melbourne, Australia

Hold Still (with Nick Austin), curated by Claire Doherty, One Day Sculpture, Auckland, New Zealand

The World (will soon turn our way) (with Fiona Connor and Marnie Slater), site-specific project, Mt. Eden, Auckland, New Zealand

Academy (with Ryan Moore), TCB, Melbourne, Australia

Many directions, as much as possible, all over the country, 1301PE, Los Angeles, USA

2007
Working on Talking (with Frances Stark and Ruth Buchanan), Gambia Castle, Auckland, New Zealand

Giant Monuments (with Sanne Mestrom), Münster, Germany

Moment Making: After the Situation, ARTSPACE, Auckland, New Zealand

How W.H. Auden spends the night in a friend’s house, Gambia Castle, Auckland, New Zealand

Omnipresents, Gertrude Contemporary Art Spaces, Melbourne, Australia

Twone (with Sriwhana Spong), Physics Room, Christchurch, New Zealand

I Dig Your Voodoo, Joint Hassles, Melbourne, Australia

2006
The Silver Clouds, curated by Cuckoo, Order and Progress/Next Wave Festival, Melbourne, Australia

Don’t Rain on my Parade, Special, Auckland, New Zealand

Inner City Real Estate, Enjoy Public Art Gallery, Wellington, New Zealand

2004
Remember New Zealand, curated by Tobias Berger, 26th São Paulo Biennale, São Paulo, Brazil

Cuckoobough, Westspace, Melbourne, Australia

2003
Money for Nothing, curated by Tobias Berger, Artspace, Auckland; City Gallery, Wellington, New Zealand

Vs, Michael Lett Gallery, Auckland, New Zealand

2002
Honestly, New Artists Show, Artspace, Auckland, New Zealand

Fertilizer, High Street Project, Christchurch, New Zealand

Residencies

2017
Spring 2017 International Artist-In-Residence Program, Artpace, San Antonio, USA

2015
Gertrude Contemporary Residency, Melbourne, Australia

2013
Fogo Island Arts Residency, Newfoundland, Canada

2012
International Studio and Curatorial Program ISCP, New York, USA

2010
Theatre of Erosion or I Hate Work This is not a Play (with Geoffrey Farmer), Banff Centre, Banff, Canada

Künstlerhäuser, Worpswede, Germany

SOMA, Mexico City, Mexico

Selected Essays, Reviews and Articles

2015
Roberta Smith, “Kate Newby and Helen Johnson” (review), The New York Times, 16 July.

2014
Francisco Goldman, “Mexico City Mix,” National Geographic Traveller, December.

Hamish Coney, “Breakfast in America,” Content Magazine, November.

Jennifer Kabat, “In Focus: Kate Newby,” Frieze, March.

Leslie Moody Castro, “Kate Newby, Lulu, Mexico City” (review), Artforum.com Critic’s Picks.

Jennifer Kabat, “The Small Often Vague Things—Kate Newby’s Radically Slight Art,” The Weeklings, June.

2013
Miami Kataoka, “I like works when their condition as art is unclear” in Kate Newby: Let the other thing in, Sternberg Press, 2013 (essay)

Kay Burns, Kate Newby: Let the Other Thing in, C Magazine, Issue 120, 2013 (review)

Sarah Hopkinson, Kate Newby’s Outside, in Kate Newby: Incredible Feeling, Clouds Publishing, 2013 (essay)

Jennifer Kabat, It’s The Small Often Vague Things, in Kate Newby: Let the other thing in, Sternberg Press, 2013 (catalogue essay)

Chris Kraus, Kate Newby’s Bones, in Kate Newby: Incredible Feeling, Clouds Publishing, 2013 (essay)

2012
Julia Waite, If not concrete then what? Kate Newby’s I’m just like a pile of leaves Archive, Reading Room 5, 2012

2011
Sam Eichblatt, “Kate Newby: Occupying Brooklyn,” Metro Magazine n. 363, May.

Sue Gardiner, “Aspiring to the condition of architecture,” Artnews, Spring.

2010
Jon Bywater, Discreet Poetry: Kate Newby’s ‘Get off my garden’, 2010 (exhibition essay)

Allan Smith, Know how can do: E, F, G, K – busy with the elephant; or, Calculate, evaluate, improvise: Eve Armstrong; Fiona Connor; Gaelen MacDonald; Kate Newby, in Natural Selection, Issue 7, Winter 2010

2009
Sue Gardiner, You really had to be there!, Artnews, Autumn 2009

2008
Louise Menzies, Kate Newby & Nick Austin, Frieze online, 2008 (review)

Ruth Buchanan, Poems about nature documentaries, in Kate Newby: Holding onto it only makes you sick, Gambia Castle Press, Auckland, 2008

Artist Books and Exhibition Catalogues

2013
Incredible feeling, Clouds Publishing, Auckland (monograph)

Let the other thing in, Fogo Island Arts and Sternberg Press, Berlin (catalogue)

2012
I went from a 5 to a 7, (with Fiona Connor), self-published artist, Los Angeles, Banff, Auckland (artist book)

I’m just like a pile of leaves, Auckland Art Gallery Toi o Tamaki, Auckland (catalogue)

2011
The sky, the wall and a tree, self-published with Fiona Connor and Gambia Castle Press, Los Angeles (artist book)

Bas Jan Ader: Suspended Between Laughter and Tears, Claremont Museum of Art, Los Angeles (catalogue)

2009
Discreet and Popular, a monthly reader, Gambia Castle Press, Auckland

2008
Holding onto it only makes you sick, Gambia Castle Press, Auckland (artist book)

2007
My Poetry, for example, self-published, Auckland (artist book)

Architecture for Specific People, Gambia Castle Press, Auckland (artist book)

2004
A Creative and Artist Masterpiece, self-published, Aigle (artist book)

2003
Money for Nothing, Artspace, Auckland (artist book)

2001
My Blues Song, Starkwhite, Auckland (artist book)

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