Kate Newby

b. Auckland, New Zealand 

Lives and works in Brooklyn, NY 

Selected Solo Exhibitions

2019 Fine Arts, Sydney, Sydney (forthcoming)

Madragoa, Lisbon (forthcoming)

Cooper Cole, Toronto (forthcoming)

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 St. Garden, Brooklyn (in association with New York 

City Department of Parks and Recreation and International Studio & Curatorial 

Program ISCP), New York

How funny you are today, New York, Fort Greene Park, Brooklyn (in association with New York 

City Department of Parks and Recreation and International Studio & Curatorial 

Program ISCP), 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 

 

2008 Thinking with your body, Gambia Castle, Auckland 

Run!, Window, Auckland 

 

2007 On the Benefits of Building, Gambia Castle, Auckland 

A Windy Fire, Te Tuhi, Auckland 

 

Selected Group Exhibitions

2019 City Prince/sses, Palais de Tokyo, Paris

Summer Group Show, The Sunday Painter, London

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

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

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 Artistic Director 

Mami Kataoka, Cockatoo Island and the Art Gallery of New South Wales, Sydney (catalogue)

Ritual, Aspen Art Museum, Aspen

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

 

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)

Raising Cattle, Montreal 

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

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

Art Gallery, Dunedin (catalogue)

 

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

Thought Cupboard, The Dowse, Wellington 

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

The January February March (Jennifer Kabat, Anna Moschovakis and Kate Newby), The Western 

Catskills, 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

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

Bas Jan Ader: Suspended between Laughter and Tears, curated by Pilar Tompkins Rivas, 

Museo de Arte Zapopan (MAZ) Guadalajara

 

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

 

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

The World (will soon turn our way), Charlton Avenue / Gambia Castle, Auckland

Academy, TCB, Melbourne

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

 

2007 Working on Talking, Gambia Castle, Auckland

Moment Making: After the Situation, curated by Laura Preston, Artspace, Auckland

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

Twone, Physics Room, Christchurch

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 

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 

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

2013 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

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

2001 My Blues Song, Starkwhite, Auckland 

Selected Reviews & Articles

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 Alexandra-Maria Toth, “Kate Newby: I Can’t Nail the Days Down,” PW-Magazine, September 4.

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.7275

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.