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. In 2012 she was awarded the renowned Walter’s Prize. She is also a 2019 recipient of The Joan Mitchell Foundation Painters & Sculptors Grant. Newby graduated with a Doctor of Fine Arts (2015) from the University of Auckland’s Elam School of Fine Arts. Recent solo shows include Wild was the night, IAC, Villeurbanne, France (2019); A puzzling light and moving., lumber room, Portland, USA (2019), Nothing that’s over so soon should give you that much strength, Hordaland Kunstsenter, Bergen, Norway (2018), All the stuff you already know, The Sunday Painter, London, United Kingdom (2018), I can’t nail the days down, Kunsthalle Wien, Vienna, Austria (2018), Swift little verbs pushing the big nouns around, Michael Lett, Auckland, New Zealand (2018); Let me be the wind that pulls your hair, Artpace, San Antonio, USA (2017); The January February March, The Poor Farm, Wisconsin, USA (2016); I memorized it I loved it so much, Laurel Gitlen, New York, USA (2015); Two aspirins a vitamin C tablet and some baking soda, Laurel Doody, Los Angeles, USA (2015); I feel like a truck on a wet highway, Lulu, Mexico City, Mexico (2014); Maybe I won‘t go to sleep at all., La Loge, Brussels, Belgium (2013); and Let the other thing in, Fogo Island Gallery, Newfoundland, Canada (2013); among others. Her works have also been shown in international group exhibitions, including Notebook, 56 Henry, New York, USA (2019), Further Thoughts on Earthy Materials, Kunsthaus Hamburg, Germany, (2018); 21st Biennale of Sydney, Australia (2018); Scrap Metal, Toronto. Canada (2017); Index – The Swedish Contemporary Art Foundation, Stockholm, Sweden (2017); Sculpture Center, New York, USA (2017); Casa del Lago, Mexico City, Mexico (2015); Auckland Art Gallery Toi o Tamaki, Auckland, New Zealand (2015); and Arnolfini, Bristol, United Kingdom (2014). Newby undertook residencies at The Chinati Foundation, Marfa (2017), Artpace, San Antonio, USA (2017) and Fogo Island, Newfoundland, Canada (2013). Newby currently lives and works between Auckland, New Zealand and Brooklyn, USA.

 

CV

Kate Newby

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

2019

Madragoa, Lisbon, Portugal (Forthcoming)

Fine Arts, Sydney, Australia (Forthcoming)

Nothing in my life feels big enough, Cooper Cole, Toronto, Canada

Wild was the night, The Institut d’Art Contemporain (IAC), Villeurbanne, France

A puzzling light and moving. (Part II and Part III), The Lumber Room, Portland, USA

2018 

Nothing that’s over so soon should give you that much strength, Hordaland Kunstsenter, Bergen, Norway

All the stuff you already know, The Sunday Painter, London, United Kingdom

Kate Newby. I can’t nail the days down, Kunsthalle Wien, Wien, Austria

Swift little verbs pushing the big nouns around, Michael Lett, Auckland, New Zealand

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

2019

Motion & Motive, Susan Hobbs, Toronto, Canada

City Prince/sses, Palais de Tokyo, Paris, France

Garden of Cyrus, Fortnight Institute, New York, USA

Indus 2, Galerie Art : Concept, Paris, France

Unexplained Parade, Catriona Jeffries, Vancouver, Canada

The Independent, with Kate Newby, Cooper Cole, New York, USA

Notebook, curated by Joanne Greenbaum, 56 Henry, New York, USA

Elements, curated by Svea Kellner, Neues Kunsthaus, Ahrenshoop, Germany

2018

Juliette Blightman, Parbhu Makan, Kate Newby, Henrik Olesen, Michael Lett, Auckland, New Zealand

Further Thoughts on Earthy Materials, curated by Janneke de Vries and Katja Schroeder, Kunsthaus Hamburg, Hamburg, Germany

Still Life, co-curated with Candice Madey, SEPTEMBER, Hudson, USA

It was literally the wreck of jewels and the crash of gems…, Nicelle Beauchene Gallery, New York, USA

Dwelling Poetically: Mexico City, a case study, curated by Chris Sharp,

Australian Centre for Contemporary Art, Melbourne, Australia

Superposition: Equilibrium & Engagement, 21st Biennale of Sydney, curated by Artistic Director Mami Kataoka, Cockatoo Island and the Art Gallery of New South Wales, Sydney, Australia

Belonging to a Place, An exhibition by Fogo Island Arts Embassy of Canada, Washington DC, USA

Ritual, Aspen Art Museum, Aspen, USA

2017

Frieze Art Fair, Cooper Cole, London, United Kingdom

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

The Promise, curated by Axel Wieder, Index, Stockholm, Sweden

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, New Zealand

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, Australia

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


Grants

 2019   

Painters & Sculptors Grant, The Joan Mitchell Foundation

 

Residencies

2017

The Chinati Foundation Artist in Residence, Marfa, USA
Spring 2017 International Artist-In-Residence, 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

2019        

Jon Raymond, “Kate Newby; lumber room”, Artforum, May

Chris Kraus, “Chris Kraus on learning to cope after the Brett Kavanaugh debacle”, Sleek Magazine, Berlin, March 20

Ross Simonini, “Kate Newby”, Art Review

2018

Chris Kraus, “Kate Newby’s Bone”, Social Practices, Semiotext(e)

Chloe Geoghegan, “Kate Newby: I can’t nail the days down”, Contemporary Hum

Chris Sharp, “Following Kate Newby down the road”, Mousse

Figgy Guyver, “Critic’s Guide to London: The Best Shows in Town”, Frieze

Alexandra-Maria Toth, “Kate Newby: I Can’t Nail The Days Down”, PW-Magazine

Jon Bywater, “The meaning of molecules”, Art News New Zealand

John Hurrell, “Newby at Marfa at Lett”, Eye Contact

Eloise Callister-Baker, “The Unmissables: Four Exhibitions to see in March”, Pantograph Punch

2017

Chris Kraus, “Splodges of Color”, Swift little verbs pushing the big nouns around (artist book)

Neil Fauerso, “Artpace Spring Artist-in-Residence Exhibition”, Glasstire

Linnea West, “Phone tag: Interview with Kate Newby”, Phone Tag

2016

Anthony Byrt, “Quiet wanderer: Kiwi sculptor Kate Newby”, Paperboy

Kate Sutton, “Kate Newby; Laurel Doody”, Artforum

Jennifer Kabat, “To Write About A Hole”, VQR

Rosanna Albertini, “Kate Newby: don’t be all scared like before”, The Kite

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


Monographs

2019          

I can’t nail the days down, edited by Kunsthalle Wien and published by Sternberg press, Berlin

2013            

Incredible feeling, Clouds Publishing, Auckland

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

 

Artist Books

2018

Nothing that’s over so soon should give you that much strength,

Hordaland Kunstsenter, Bergen, Norway (artist book)

2017

Swift little verbs pushing the big nouns around, Marfa (artist book)

Let me be the wind that pulls your hair, (edition of 150), San Antonio
(artist book)

Belonging to a Place, An exhibition by Fogo Island Arts, Scrap Metal,
Toronto (catalogue)

In Practice: Material Deviance, SculptureCenter, New York (catalogue)

2016

Light switch and conduit: the Jim Barr and Mary Barr collection, Dunedin

Public Art Gallery, Dunedin (catalogue)

2015

Laura, Lucy, Mark and Felix, MODELAB, Wellington (online catalogue)

Our first-second-third-fourth selves write our messages, ACCA, Melbourne (catalogue)

Casa del Lago, Unam, Mexico City (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)

Collection

Metropolitan Museum of Art, Library Collection, New York, U

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