{"id":15639,"date":"2021-12-02T16:32:19","date_gmt":"2021-12-02T16:32:19","guid":{"rendered":"http:\/\/www.galerieartconcept.com\/?p=15639"},"modified":"2026-03-24T15:12:40","modified_gmt":"2026-03-24T15:12:40","slug":"kate-newby","status":"publish","type":"post","link":"https:\/\/www.galerieartconcept.com\/en\/kate-newby\/","title":{"rendered":"Kate Newby"},"content":{"rendered":"\n
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Kate Newby,\u00a0A line through time<\/em>, 2025. \u2028
\/\/ Biennale de Singapour \/\/ Singapore Biennale
30 meters. Ceramic, local slip (Singapore construction site), glaze, minerals, concrete. Installed along the Singapore Rail Corridor. Image courtesy of Singapore Art Museum.<\/figcaption><\/figure>\n\n\n\n
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Kate Newby,\u00a0A line through time<\/em>, 2025\u2028.
\/\/ Biennale de Singapour \/\/ Singapore Biennale
30 meters. Ceramic, local slip (Singapore construction site), glaze, minerals, concrete. Installed along the Singapore Rail Corridor. Image courtesy of Singapore Art Museum.<\/figcaption><\/figure>\n\n\n\n
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Kate Newby, Cold Water, 2025. Commissioned by Sharjah Art Foundation with the support of Creative New Zealand Toi Aotearoa. Installation view: Sharjah Biennial 16, Kalba Ice Factory, Kalba. Image courtesy of Sharjah Art Foundation. Photo: Ivan Erofeev<\/figcaption><\/figure>\n\n\n\n
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Kate Newby, Cold Water, 2025. Commissioned by Sharjah Art Foundation with the support of Creative New Zealand Toi Aotearoa. Installation view: Sharjah Biennial 16, Kalba Ice Factory, Kalba. Image courtesy of Sharjah Art Foundation. Photo: Ivan Erofeev<\/figcaption><\/figure>\n\n\n\n
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Kate Newby, Cold Water, 2025. Commissioned by Sharjah Art Foundation with the support of Creative New Zealand Toi Aotearoa. Installation view: Sharjah Biennial 16, Kalba Ice Factory, Kalba. Image courtesy of Sharjah Art Foundation. Photo: Ivan Erofeev<\/figcaption><\/figure>\n\n\n\n
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Kate Newby, Cold Water, 2025. Commissioned by Sharjah Art Foundation with the support of Creative New Zealand Toi Aotearoa. Installation view: Sharjah Biennial 16, Kalba Ice Factory, Kalba. Image courtesy of Sharjah Art Foundation. Photo: Ivan Erofeev<\/figcaption><\/figure>\n\n\n\n
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they built anyway, 2024
Verre souffl\u00e9, corde faite \u00e0 la main, bronze \/ Blown glass, handmade rope, bronze
Dimensions Variables. Photo Romain Darnaud<\/figcaption><\/figure>\n\n\n\n
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they built anyway (detail), 2024
Verre souffl\u00e9, corde faite \u00e0 la main, bronze \/ Blown glass, handmade rope, bronze
Dimensions Variables. Photo Romain Darnaud<\/figcaption><\/figure>\n\n\n\n
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“Trust me, trust me\u2026\u2026\u2026trust me”, 2024, Laiton blanc, argent sterling, bronze, porcelaine, gr\u00e8s, \u00e9mail (7 pi\u00e8ces), taille variable<\/figcaption><\/figure>\n\n\n\n
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Kate Newby, Hours in wind, 2024, verre moul\u00e9, verre travaill\u00e9 \u00e0 chaud, bronze, corde r\u00e9cup\u00e9r\u00e9e, commande du Museum of Contemporary Art Australia avec le soutien des m\u00e9c\u00e8nes principaux Ginny et Leslie Green, 2024, image avec l’autorisation de l’artiste et du Museum of Contemporary Art Australia \u00a9 l’artiste, photographie : Zan Wimberley<\/figcaption><\/figure>\n\n\n\n
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Kate Newby, anything, anything, Klosterruine Berlin 2024, Photo: Robert Hamacher<\/figcaption><\/figure>\n\n\n\n
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Kate Newby, anything, anything, Klosterruine Berlin 2024, Photo: Robert Hamacher<\/figcaption><\/figure>\n\n\n\n
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Vue d’exposition \/ Installation view Ecology: Dialogue on Circulations – Dialogue 2 “Ephemeral Anchoring”, 2024. Fondation d’Entreprise Herm\u00e8s, Le Forum of the Ginza Maison Herm\u00e8s, Tokyo\/JP<\/figcaption><\/figure>\n\n\n\n
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Vue d\u2019exposition \/ Installation view: Our Ecology: Toward a Planetary Living, Mori Art Museum, Tokyo\/JP.
Kate Newby, FIRE!!!!!!!<\/em>, 2023. Terrazzo produced at Torii Cement Kougyou Co., Ltd., Toyama (Concrete and found materials in Tokyo: stone, ceramics, glaze, glass, rubber, plastic, enamel, cork, metal, rope, concrete, shell, and bitumen), Indigo Fabric produced at Kosoen, Ome (Organic Cotton, indigo dye). Dimension variable. Co-production: Fondation d\u2019entreprise Herm\u00e8s and Mori Art Museum Photography: Go Itami<\/figcaption><\/figure>\n\n\n\n
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Kate Newby, Good report, stop yelling tho. 2023. Cast iron, Museum entrance, 35 x 46 x 5 7\/8 x 16 5\/8 x 5\/16 in. (1 piece). Installation view “Intimate confession is a project”, Blaffer Art Museum,Houston, TX\/US<\/figcaption><\/figure>\n\n\n\n
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Kate Newby, What a great year for music<\/em>, 2023, Marfa Book Co., Marfa, TX, Photo: Alex Marks<\/figcaption><\/figure>\n\n\n\n
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Kate Newby, What a great year for music<\/em>, 2023, Marfa Book Co., Marfa, TX, Photo: Alex Marks<\/figcaption><\/figure>\n\n\n\n
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I love this sound<\/em> (detail), 2023. Verre, bois \/ glass, wood. 63\u201d x 49.75\u201d<\/figcaption><\/figure>\n\n\n\n
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Kate Newby, I like the way I am, 2023. Bronze, corde artisanale \/ Bronze, Handmade rope. Dimensions variable. Courtesy the artist and Art : Concept, Paris. Photo by Jorge Davalos Palma<\/figcaption><\/figure>\n\n\n\n
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Kate Newby, Kate Newby<\/strong>, a year in the wild, 2022. Verre, jaune d\u2019argent \/ Glass, jaune d’argent. 37 \u00d7 37 cm (14 \u215d \u00d7 14 \u215d inches). Courtesy the artist and Art : Concept, Paris. Photo Nicolas Brasseur<\/figcaption><\/figure>\n\n\n\n
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Vue d’exposition \/ Installation view Feel Noise, Kate Newby and MacKenzie Stevens, 2022, Testsite, TX\/US<\/figcaption><\/figure>\n\n\n\n
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Vue d’exposition \/ Installation view Carbonate of Copper, 2022, Artpace, San Antonio, TX\/US
Curator Jennifer Teets<\/figcaption><\/figure>\n\n\n\n
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Vue d’exposition \/ Installation view Carbonate of Copper, 2022, Artpace, San Antonio, TX\/US
Curator Jennifer Teets<\/figcaption><\/figure>\n\n\n\n
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Vues de l’exposition \/ Installation view “R\u00e9clamer la terre”, 14.04.22 – 04.09.22, Palais de Tokyo, Paris. Courtesy the artist & Art : Concept, Paris. Photo Aur\u00e9lien Mole<\/figcaption><\/figure>\n\n\n\n
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The edge of the earth, 2022
Briques, mortier
Produit avec le soutien des Rairies-Montrieux
Dimensions variable<\/figcaption><\/figure>\n\n\n\n
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Vues de l’exposition \/ Installation view “R\u00e9clamer la terre”, 14.04.22 – 04.09.22, Palais de Tokyo, Paris. Courtesy the artist & Art : Concept, Paris. Photo Aur\u00e9lien Mole<\/figcaption><\/figure>\n\n\n\n
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Vues de l’exposition \/ Installation view “R\u00e9clamer la terre”, 14.04.22 – 04.09.22, Palais de Tokyo, Paris. Courtesy the artist & Art : Concept, Paris. Photo Aur\u00e9lien Mole<\/figcaption><\/figure>\n\n\n\n
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Vues de l’exposition \/ Installation view “R\u00e9clamer la terre”, 14.04.22 – 04.09.22, Palais de Tokyo, Paris. Courtesy the artist & Art : Concept, Paris. Photo Aur\u00e9lien Mole<\/figcaption><\/figure>\n\n\n\n
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Vue de l\u2019exposition \/ Installation view, Kate Newby: Try doing anything without it, 2022, Art : Concept, Paris<\/figcaption><\/figure>\n\n\n\n
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Kate Newby, amazing all times of year, 2022. Laiton blanc, argent, verre trouv\u00e9 (Auckland), gr\u00e8s, gla\u00e7ure (6 pi\u00e8ces). Dimensions variables. Courtesy of the artist and Art : Concept, Paris. Photo Nicolas Brasseur<\/figcaption><\/figure>\n\n\n\n
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Thank you for taking us along (\u00e0 gauche\/left), Her expression (\u00e0 droite\/right), 2022. Briques, mortier \/ Bricks, mortar. 324 x 10 x 11 cm (127 1\/2 x 3 7\/8 x 4 3\/8 in). Produit aux \/ Produced at Rairies-Montrieux. Courtesy of the artist and Art : Concept, Paris. Photo Nicolas Brasseur<\/figcaption><\/figure>\n\n\n\n
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Generous and with light, 2019. Verre, corde de laine, c\u00e2ble \/ glass, wool rope, wire, dimensions variables Courtesy of the artist and Art : Concept, Paris. Photo Nicolas Brasseur<\/figcaption><\/figure>\n\n\n\n
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Generous and with light, 2019. Verre, corde de laine, c\u00e2ble \/ glass, wool rope, wire, dimensions variables Courtesy of the artist and Art : Concept, Paris. Photo Nicolas Brasseur<\/figcaption><\/figure>\n\n\n\n
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Kate Newby. Grows and grows on you, 2021
Argile, bris de verres collect\u00e9s, crayon dermographique, 3700 \u00e9l\u00e9ments.
Vue d’exposition \/ Installation view Mus\u00e9e d’art contemporain de Haute-Vienne – Ch\u00e2teau de Rochechouart
photo: Aur\u00e9lien Mole<\/figcaption><\/figure>\n\n\n\n
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Kate Newby, ‘Sorry fingers keep going’, 2018. Laiton blanc, porcelaine, argent, laiton, gr\u00e8s et \u00e9mail, 8 pi\u00e8ces.<\/figcaption><\/figure>\n\n\n\n
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Kate Newby, \u2018Let me be the wind that pulls your hair\u2019, 2017, Vue d\u2019exposition (d\u00e9tail), Artpace, San Antonio, TX, USA<\/figcaption><\/figure>\n\n\n\n
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Kate Newby, \u2018I can’t nail the days down\u2019, 2018. Vue d\u2019exposition (d\u00e9tail), Kunsthalle Wien, Vienne, Autriche<\/figcaption><\/figure>\n\n\n\n
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Kate Newby, \u2018I can’t nail the days down\u2019, 2018. Vue d\u2019exposition (d\u00e9tail), Kunsthalle Wien, Vienne, Autriche<\/figcaption><\/figure>\n\n\n\n
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Kate Newby, ‘lit by lightning’, 2019. Verre, en deux parties, 9,4 x 18 x 29cm, 8,8 x 20 x 11,5cm.<\/figcaption><\/figure>\n\n\n\n
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Kate Newby, ‘Wilde was the night, 2019. Verre, dimensions variables \/ Glass, variable dimensions. Vue d’exposition \/ Installation vue Otium#4, IAC, Villeurbanne, France, 2019<\/figcaption><\/figure>\n\n\n\n
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Kate Newby, I’m Actually Weirdly Exciting, 2018, Biennale de Sydney, Autralie, 2018<\/figcaption><\/figure>\n\n\n\n
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Kate Newby, ‘The more I listen to it the more I love it’, 2017. Verre, bouteilles de bi\u00e8re. D\u00e9tail de l’exposition, Fondation d’art contemporain su\u00e9dois, Stockholm, Su\u00e8de.<\/figcaption><\/figure>\n\n\n\n
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Kate Newby, ‘Not this time, not for me’, 2017. Mortier, couleur b\u00e9ton, argent, laiton blanc, porcelaine, corde de coton, verre, gr\u00e8s. D\u00e9tail de l’exposition, SculptureCenter, New York, NY, \u00c9tats-Unis.<\/figcaption><\/figure>\n\n\n\n
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Kate Newby, ‘A rock in this pocket’, 2018. Briques, verre, c\u00e9ramique, m\u00e9tal Vue de l’exposition, 21e Biennale de Sydney, Sydney, Australie.<\/figcaption><\/figure>\n\n\n\n
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Vue d’exposition \/ Installation view, Kate Newby, 2017, SculptureCenter, New York<\/figcaption><\/figure>\n<\/figure>\n\n\n\n

Biography<\/h4>\n\n\n\n

Kate Newby was born in Auckland, Aotearoa, New Zealand in 1979 and works in the United States where she lives. In 2015 she graduated with a PhD from the Elam School of Fine Art at the University of Auckland.<\/p>\n\n\n\n

Working with a variety of media including installation, textile, ceramics, casting and glass, Newby is a sculptor who is committed to exploring and putting pressure on the limits and nature of sculpture. As such, she is interested in not only space, volume, texture and materials, but where and how sculpture happens. Consisting of site-specific projets that form relationships with locations througt actions, Kate Newby’s work engages with a wide range of situations using everyday actions and materials in order to displace and challenge how contemporary art is exhibited, viewed, and archived.<\/p>\n\n\n\n

Her work has been shown at the 21st Biennale of Sydney in 2018, as well as in various institutions and galleries around the world: Sharjah Bienniale (2025), Fondation Herm\u00e8s and Mori Art Museum in Tokyo, Japan (2023\/2024), at Blaffer Art Museum, Houston, Texas, US (2023), Te Papa Tongarewa, Museum of New Zealand, Wellington, Nouvelle-Z\u00e9lande (2023); Palais de Tokyo, Paris (2022); Mus\u00e9e de Rochechouart (2021); Institut d’Art Contemporain Villeurbane (2019); Lumber room, Portland, Oregon (2019); Kunsthalle Vienna (2018); Kunsthaus Hamburg (2018); Index, Contemporary Swedish Art Foundation (2017); and the SculptureCenter, NY (2017).<\/p>\n\n\n\n

Kate has completed residencies at: The Joan Mitchell Foundation (2019), The Chinati Foundation (2017), Artpace (2017), Fogo Island (2013), and the International Studio & Curatorial Program ISCP (2012).<\/p>\n\n\n\n

She won the Walters Prize, New Zealand’s largest contemporary art prize, in 2012 and the Ettore Fico Prize (Turin, IT) in 2022.<\/p>\n\n\n\n

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At the gallery<\/h4>\n\n\n\n