Kate Newby’s work consists of site-specific projects that form relationships with locations through actions. Her work engages with a wide range of situations using every-day actions and materials in order to displace and challenge how contemporary art is exhibited, viewed, and archived. These projects draw directly from the locations in which they are presented.
Recent solo exhibitions include: Big Tree. Bird’s Eye, Michael Lett, Auckland (2016); Tuesday evening. Sunday afternoon. Stony Lake. Cooper Cole, Toronto; The January February March, The Poor Farm, Wisconsin (2016); Two aspirins a vitamin C tablet and some baking soda, Laurel Doody, Los Angeles (2015); I memorized it I loved it so much, Laurel Gitlen, New York (2015); Always humming, Gertrude Contemporary, Melbourne (2015); I feel like a truck on a wet highway, Lulu, Mexico (2014); Maybe I won’t go to sleep at all., La Loge, Brussels (2013); Let the other thing in, Fogo Island Gallery, Newfoundland (2013). Selected group exhibitions include: In Practice: Material Deviance, Sculpture Centre, New York (2017); Everyday I make my way, Minerva, Sydney (2016); Natural Flavor, Ludlow 38, New York (2015); Ordering Nature, Marianne Boesky, New York (2015); Inside Outside Upside Down, Auckland Art Gallery Toi o Tamaki, Auckland (2015); Where the trees line the water that falls asleep in the afternoon, P420, Bologna (2015); The Promise, Arnolfini, Bristol, UK (2014); Eraser, Laurel Gitlen, New York (2015); NEW 15, Australian Centre for Contemporary Art, Melbourne (2015).
Two publications have been produced on Kate’s work in recent years, Incredible feeling, Clouds Publishing, Auckland (2013) with essays by Chris Kraus and Tahi Moore; as well as Let the other thing in, Fogo Island Arts and Sternberg Press, Berlin (2013), with essays by Jennifer Kabat and Mami Kataoka.