Archive for the ‘USA’ Category
Posted by artradar on October 20, 2010
USA MUSEUM SHOWS CHINESE PHOTOGRAPHY
AW Asia, a private organisation that promotes the field of Chinese contemporary art through institutional loan and museum acquisitions, curatorial projects, publishing, and educational programs, has released a press release announcing that three major US institutions – The Metropolitan Museum of Art, The Museum of Modern Art, and the J. Paul Getty Museum – will include works by Chinese contemporary photographers in major group exhibitions.
Exhibiting artists include: Weng Fen (exhibiting at The Metropolitan Museum of Art in New York), Ai Weiwei and Zhang Dali (both exhibiting at The Museum of Modern Art in New York), Hai Bo, Liu Zheng, Song Yongping, RongRong, Wang Qingsong, Huang Yan, Qiu Zhijie, and Zhang Huan (all exhibiting at the J. Paul Getty Museum in Los Angeles).
For more details on each exhibition, read the press release below:
For Immediate Release
June 15, 2010
MAJOR U.S. MUSEUMS EXHIBIT
CHINESE CONTEMPORARY PHOTOGRAPHY
THIS SUMMER SEASON& BEYOND
Contemporary Chinese photography is becoming increasingly prominent in the field of international contemporary art. In the coming months, three major US institutions – The Metropolitan Museum of Art, The Museum of Modern Art, and the J. Paul Getty Museum – will include works by Chinese contemporary photographers in major group exhibitions.
The Metropolitan Museum of Art in New York recently acquired a collection of photographic works by Chinese artists from an anonymous donor. Contemporary Chinese artists whose photography is now represented in the Met’s permanent collection include Hai Bo, Sheng Qi, Song Dong, Zhang Huan, Hong Hao, Wang Qingsong, Xing Danwen, and Weng Fen. The upcoming group exhibition, Between Here and There: Passages in Contemporary Photography (July 2, 2010 – February 13, 2011), explores themes of dislocation and displacement in our progressively global society, and will feature work by Chinese artist Weng Fen. The exhibition will also feature works by international artists Dennis Oppenheim, Robert Smithson, Jeff Wall, and Thomas Struth, among others.
At The Museum of Modern Art in New York, The Original Copy: Photography of Sculpture, 1839 to Today (August 1 – November 1, 2010) will feature photography by Chinese artists Ai Weiwei and Zhang Dali. This show examines the intersection between photography and sculpture, investigating how one medium informs the analysis and creative redefinition of the other. Bringing together over three hundred photographs, magazines, and journals by one hundred artists, the exhibition showcases work by both sculptors and photographers, including Auguste Rodin, Constantin Brancusi, Man Ray, David Smith, Bruce Nauman, Barbara Kruger, Hannah Wilke, and Robert Smithson. Photographic works by Ai Weiwei and Zhang Dali entered MoMA’s permanent collection in July 2008; this is the first show in which these works will be displayed at the museum in a group-exhibition context.
Later this year the J. Paul Getty Museum in Los Angeles will present Photography from New China (December 7, 2010 – April 3, 2011). Offering a contrast to the nineteenth-century views of China and other parts of East Asia by Felice Beato concurrently on view in the Getty Center for Photographs, this exhibition offers a cross-section of Chinese photographs produced since People’s Republic leader Deng Xiaoping ushered in a new era of opening and reform in the late 1970s. Highlighting the Getty’s recent acquisition of photographs by Hai Bo, Liu Zheng, Song Yongping, Rong Rong, and Wang Qingsong, Photography from New China showcases several approaches that are characteristic of recent Chinese contemporary art, including performance for the camera, the incorporation of family photographs, and an emphasis on the body. Supplemented by loans of work by Huang Yan, Qiu Zhijie, and Zhang Huan, the exhibition explores such themes as pre-revolutionary Chinese literati, vestiges of the Cultural Revolution, and newly rampant consumerism.
Related Topics: Chinese artists, photography, USA venues
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Posted in Chinese, Photography, USA | Tagged: Ai Weiwei, art press release, Auguste Rodin, AW Asia, Barbara Kruger, Between Here and There: Passages in Contemporary Photography, Bruce Nauman, Chinese art, Chinese artists, Chinese contemporary art, Chinese contemporary photographers, Chinese contemporary photography, Chinese literati, Constantin Brancusi, consumerism, Cultural Revolution, David Smith, Deng Xiaoping, Dennis Oppenheim, group exhibitions, Hai Bo, Hannah Wilke, Huang Yan, J. Paul Getty Museum, Jeff Wall, Liu Zheng, Man Ray, photography, Photography from New China, press release, Qiu Zhijie, Robert Smithson, RongRong, sculpture, Song Yongping, The Metropolitan Museum of Art, The Museum of Modern Art, The Original Copy: Photography of Sculpture 1839 to Today, Thomas Struth, USA venues, Wang Qingsong, Weng Fen, Zhang Dali, Zhang Huan | 1 Comment »
Posted by artradar on September 16, 2010
TIBETAN CONTEMPORARY ART NEW YORK MUSEUM SHOWS
Until October 18, Rubin Museum, usually New York’s home for traditional art of the Himalayas, will run the first Tibetan contemporary art show in the city. Titled “Tradition Transformed: Tibetan Artists Respond“, this exhibition showcases the works of nine Tibetan artists born within the period 1953 to 1982. In a review published by The New York Times, critic Ken Johnson comments on each of the artists’ works.
Kesang Lamdark from Zurich presents Johnson’s most highly recommended works. On display is a sculpture made of perforated beer cans. As one peers through the drinking hole they can see a “glowing, dotted-line image of a Tibetan deity.” He also presents O Mandala Tantric, a pin-pricked black disk of four-foot diameter.
The holes on 'O Mandala Tantric' by Kesang Lamdark are back-lighted, such that they create a complex mandala pattern composed of images of skulls and animals, erotic Buddhist art imageries and modern pornography. The work touches upon themes of “debasement of sex in the modern commerce” and the East-West divide over views on eroticism.
The collages presented by Gonkar Gyatso from London are “graphically appealing,” but Johnson notes they would be more impressive if they advanced “the genre of Pop collage or ideas about spirituality and business.” One of the works on display is called Tibetan Idol 15.
'Tibetan Idol 15' by Gonkar Gystso is a collage of “hundreds of little stickers imprinted with familiar logos, cartoon characters and other signs of corporate empire” which form the “atomised silhouettes of the Buddha”.
The computer-generated prints by Losang Gyatso from Washington are, according to Johnson, “technically impressive” and “optically vivid”, but should attempt to draw a clearer relationship between “Buddha-mindedness” and “digital consciousness.” Clear Light Tara is one such work.
Large and colorful, 'Clear Light Tara' by Losang Gyatso is a computer-generated print which features “abstracted traditional motifs.”
Ken Johnson comments on the paintings like Water 1 by Pema Rinzin from New York, stating that they are “uncomfortably close to hotel lobby decoration.”
'Water 1' by Pema Rinzin is a painting of “curvy, variously patterned shapes gathered into Cubist clusters.”
Penba Wangdu from Tibet presents Links of Origination while Tenzin Norbu from Nepal presents Liberation. Both painters have the greatest “potential for narrative and symbolic elaboration,” but their works are “disappointingly decorous”, says Johnson.
Tenzin Norbu's 'Liberation' is made with stone ground pigments on cloth.
Penba Wangdu’s 'Links of Origination' outlines a sleeping woman whose body contains a “dreamy, pastoral landscape where little people make love, give birth, drink beer and paddle a boat on a peaceful lake.”
Tsherin Sherpa from Oakland, California, presents a large watercolor painting which features, as Johnson describes, an “angry blue giant with a vulture perched on his shoulder and flames roiling behind him.” Another of the artist’s major works, Untitled, features on the official website of the exhibition.
Tsherin Sherpa's 'Untitled'.
Tenzing Rigdol from New York presents a large watercolor painting named Updating Yamantaka.
'Updating Yamantaka' by Tenzing Rigdol is composed of “crisscrossing bands” which are “layered over colorfully traditional imagery of deities and ornamentation.”
Dedron from Tibet is the only female artist in the show. We are Nearest to the Sun is painted to resemble to a “modern children’s book version of folk art.” It is a painting of a village “populated by little bug-eyed characters,” projecting the theme of “nostalgia for preindustrial times.”
'We are nearest to the Sun' by Dedron, the only female artist represented in "Tradition Transformed: Tibetan artists Respond".
Johnson sums up by stating that it is paradoxical that the “freedoms granted by modern art and culture” do not generate much imagination in the show’s artists, who still cling onto that classic Tibetan style of art that has existed “hundreds of years prior to the 20th century.” He conveys a hope that in future Rubin shows he will discover some Tibetan artists with “adventurous minds.”
Related Topics: Tibetan artists, museum shows, New York venues, Buddhist art
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Posted in Art spaces, Artist Nationality, Buddhist art, Classic/Contemporary, Collage, Comic, Critic, Emerging artists, Events, Female form, Installation, Landscape, Laser, Lists, Medium, Museum shows, Museums, New York, Painting, Professionals, Religious art, Reviews, Shows, Spiritual, Styles, Themes and subjects, Tibetan, Trends, USA, Venues | Tagged: art critic, art criticism, art of the himalayas, Asian Contemporary Art, Buddhist art, Carmen Bat Ka Man, Clear Light Tara, Dedron, Gonkar Gyatso, Ken Johnson, Kesang Lamdark, Liberation, Links of Origination, Losang Gyatso, Museum shows, New York City, O Mandala Tantric, oil painting, Painting, paintings, Pema Rinzin, Penba Wangdu, review, Rubin Museum, Tenzin Norbu, Tenzing Rigdol, The New York Times, Tibetan art, Tibetan artists, Tibetan contemporary art, Tibetan Idol 15, Tradition Transformed: Tibetan Artists Respond, Tsherin Sherpa, Updating Yamantaka, Water 1, We are Nearest to the Sun | 4 Comments »
Posted by artradar on August 11, 2010
ART TOURS TIPS AND RESOURCES MUSEUMS TOUR GUIDES
In a recent blog post, Nina Simon, author of The Participatory Museum, a book that talks about practical innovations to enhance community and visitor participation in the museum experience, looks at the simple yet effective model of a “customised” tour guide employed at the Wing Luke Asian Museum, Seattle.
Nina Simon, author of 'The Participatory Museum'.
Like the majority of museum-goers, Simon’s disdain for historic building tours supplied by worn out verbal drone machines is unabashed. For Simon however, this necessary component was made special by what she calls a “customised” tour guide.
What made it so special? The guide, Vi Mar, was an incredible facilitator. She did several things over the course of the tour to make it participatory, and she did so in a natural, delightful way.
Simon notes four distinct points that made her experience special. First on her list is creating a friendly and participatory environment. Here’s how Simon says Mar did it:
There were eleven of us on the tour, all adults, mostly couples. Vi started joking with us about our relationships and hometowns while making sure we all remembered each other’s names. She made it clear from the start that we were expected to address each other by name and have fun with each other.
Next, Mar repeatedly drew on personal stories and anecdotes, encouraging friendly interaction between the visitors and the tour guide. Her own relationship with the museum objects was part of the tour. Simon says,
We walked into her (Vi Mar’s) family’s historic association hall and a replica of her uncle’s dry goods store. She showed us her name on a donor wall in the museum. Again and again, she told personal stories of her interactions with the historic and monumental people and events she described. She was political. She told family stories. It felt like she was letting us into her world in a generous, funny way – and that encouraged us to relate and share as well.
Simon claims that these tools could be employed by any museum. She says,
Participatory facilitation can be taught. Passion, confidence, and personal connections to the content – those are the hard things to teach.
Four ways a museum can improve their tour experience
- Create a friendly and participatory environment at the beginning of the tour
- Encourage open interaction between visitors and tour guide
- The tour guide should draw on personal stories and anecdotes and should encourage visitors to share their views
- Keep the tour light and humorous
Related Topics: museums, promoting art, resources
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Posted in Business of art, Lists, Museums, Nonprofit, Promoting art, Resources, USA | Tagged: Ananya Mukherjee, art museums, art promotion, art tours, Chinatown, Community Initiative, facilitators, gallery resources, gallery tours, museum resources, museum tips, Museum Tools, museum tours, new art museums, Nina Simon, non-profit, Promoting art, Resources, Seattle, The Participatory Museum, tips, tips for selling art, Vi Mar, Visitor participation in museums, Wing Luke Asian Museum | Leave a Comment »
Posted by artradar on July 27, 2010
CONTEMPORARY ARTISTS CELEBRITIES REALITY TV
From dance competitions to rehab, it seems that no subject is left untouched by reality television producers. Even the act of finding a spouse has been successfully commercialised for audience entertainment. Now, with Bravo TV’s new series, Work of Art: The Next Great Artist, viewers can get a glimpse inside of the often misunderstood world of contemporary art. But at what cost?
Reality TV and contemporary art finally meet
While some shows bank on the star appeal of celebrities and athletes, others take virtual unknowns and catapult them to instant, albeit usually shortlived, fame. Some shows evoke groans of annoyance as others reign in viewers eager for enterainment or curious about the show’s focus. Bravo TV has churned out a string of successful competitive series in several disciplines including fashion, cooking, and modeling just to name a few.
As of June 2010, Bravo branched out into art with the premiere of it’s new series, Work of Art: The Next Great Artist. For executive producer Sarah Jessica Parker, the show is about making art accessible to audiences who may consider it to be a “rarefied” world. In addition to giving the fourteen featured contestants a shot at a substantial amount of cash, USD100,000 to be exact, the winner also wins an opportunity to exhibit their works at the Brooklyn Museum. Such high profile spaces are rarely made available to emerging artists.
The cast of Bravo TV's 'Work of Art: The Next Great Artist'.
But could all of this backfire? Some argue that reality TV oversimplifies certain disciplines or even presents a distorted idea of what it’s actually like to be a successful artist, dancer or model. There is also the question of whether critics and other artists will take the show’s contestants seriously. Even so, the series aims to show, in an entertaining manner, that art is not exclusive or elitist. It is something that everyone can experience, even on a daily basis. In an article published by Zap2It, Parker states:
I want to express that we all have art in our home, whether you save a postcard from a friend or put your son’s or daughter’s drawings up on the wall. That’s art, and you are part of it … and it shouldn’t be any less accessible to you than to anyone else.
As for contestants, there are those who view the competition as merely a starting point, regardless of whether they win or not. Reality stars are made quickly and can fizzle just as fast if their careers prove to be lackluster. Such possibilities don’t seem to daunt most of the artists on the show, many of whom seek to at least stand out and generate some buzz around their name. Most of the fourteen selected artists are in their twenties, few are experienced, and all are hoping that this chance of a lifetime is worth the risk of failure in front of thousands, if not millions, of viewers.
Profiles of the judges can be found here.
Vietnamese artist Trong eliminated in second round
Artist Trong Nguyen.
Brooklyn based artist and curator Trong Nguyen falls into the small category of contestants who have already achieved success. It was not enough, however, to guarantee him a spot in the third round. At only 38, he has had several international solo and group exhibitions, received numerous grants and is currently an editor for ArtSlant.
We’ve summarised below an interview with ARTINFO in which Trong discusses the artists’ attitudes towards the show, issues with judges and why he joined the cast.
When asked if he feels animosity towards reality programming, Trong expresses amibivalence, a sentiment that was reflected in his second-round installation, What Would Tom Freidman Do? (2010).
The piece itself was about my ambivalence … I thought that any serious artist, when they’re talking about making a reality show about art, has to have subversive reasons for doing the show.
In regards to the anti-reality TV phrases written on the television sets, Trong states “… the truth kind of hurts sometimes”. The judges eliminated Trong in the second round; his truthful remarks may have indeed struck a nerve. That is not to say that the judges fawned over Trong from the start. Some snapped back with what Trong hinted were unhelpful critiques.
The judges are so defensive that they end up ignoring what you have to say, which I feel is so unconstructive … I think they actually dote on certain works and certain people on the show for whatever reason, and it hasn’t felt constructive to me.
As a more seasoned artist, Trong questions the usefulness of critiques especially when aimed at the younger contestants whom he “feels protective of”. Equally so, Trong questions the ability of these artists, many of whom are fresh from undergraduate studies, to make work with depth at such a young age.
At that age, no matter how talented you are, you just haven’t experienced life enough to really make art that has substance to it … An art career is such a long thing — you have emerging artists out there who are still in their 50s, it’s not like any other profession.
Not only does Trong feel that many of the artists are too young, but they are also putting themselves in a vulnerable position too early. The possibility of ruining ones’ career before it starts is all too real for these young unknowns, although Trong has the immunity of experience and reputation.
One of my main things I said to myself: ‘There’s no way this is going to affect my career negatively.’
Trong's piece from his eliminating round, 'What Would Tom Friedman Do?' (2010, installation).
With all this, one may wonder why join the cast in the first place? But for Trong, the answer is simple.
If someone asked you to do the show, would you do it? … you have this great opportunity to experience this, why wouldn’t you do it? It’s the difference between living an active life and living a passive life. So I always go for the route of active.
Seems like an easy choice but becoming a great artist is never that simple. Mega-artists and art superstars are nothing new, but can one be made on television? The show’s intentions of giving aspiring artists a chance while exposing audiences to the art world are noble, yet using reality TV as a medium could be problematic.
Do you think the series can live up to its name and purpose or will it fall flat? Post your comments below.
Related Topics: celebrity art, crossover art, Vietnamese artists
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Posted in Artists as celebrities, Asian, Celebrity art, Crossover art, Emerging artists, Installation, New York, USA, Vietnamese | Tagged: art as popular culture, art in the media, art on TV, artist interview, artists on TV, Celebrity art, celebrity artists, competitions, contemporary art, contemporary artists, Emerging artists, Erica Holloway, installation, installation art, installation artists, interview, pop culture, popular culture, reality television, reality TV, Sarah Jessica Parker, Trong Nguyen, Vietnamese artists | Leave a Comment »
Posted by artradar on May 13, 2010
THAI ARTIST NEW YORK RELIGIOUS ART
Showing at Tyler Rollins Fine Art, a New York gallery which specializes in Asian art, Jakkai Siributr’s Karma Cash and Carry features a series of textile compositions alongside installation and video works.
Karma Cash and Carry installation view
Not a first for Siributr, the theme of materialism and Thai cultural heritage, a significant part of which is the Buddhist religion, resurfaces with Karma Cash and Carry. In 2008, Tyler Rollins featured an installation by the artist called Temple Fair, challenging notions of religion, society and politics in the Thai context.
Red Buddha at Karma Cash and Carry
Siributr’s current exhibition extrapolates the concept of everyday materialism in religion as a Karmic convenience store, where merit can be bought and sold. Making use of daily objects and ritual practices, his work puts forth powerful visual stimulus to encourage an understanding of the growing consumerism that afflicts every social practice.
Buddhist shrine- part of the installation at Karma Cash and Carry
Drawing from an ancient legacy of Thai textile art, the artist’s work primarily uses the textile medium with a contemporary sensibility. Maintaining a crucial relationship with the legacy of Thai textile, Siributr’s use of fabric in Karma Cash and Carry pushes the boundaries of the medium.
Additionally, Siributr uses the video format for the first time here. Evoking a cosmopolitan space where popular culture mixes freely with ancient faith, the installation presents the loss of the sanctity of the essentially non-materialistic Buddhist faith. Siributr himself is a practicing Buddhist and has often articulated deep concerns about the commercialization of the Buddhist faith. In Thailand however, such articulations are unwelcome by the Government and the largely Buddhist polity. To battle this, Siributr tactfully appoints irony and satire to veil his dissent.
Jakkai Siributr is considered one of Southeast Asia’s pre-eminent textile based artists and his work is often politically charged. He also featured in Viewpoints and Viewing Points – 2009 Asian Art Biennial in Taiwan.
Karma Cash and Carry is on at Tyler Rollins Fine Art, New York, until 5 June, 2010.
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Posted in Art spaces, Buddhist art, Events, Gallery shows, New York, Religious art, Thai, USA, Venues | Tagged: Ananya Mukherjee, Buddhism, installation art, Jakkai Siributr, Karma Cash and Carry, new york, Religious art, textile art, Thai artists, Tyler Rollins Fine Art, Video art, Viewpoints and Viewing Points - 2009 Asian Art Biennial | 1 Comment »
Posted by artradar on March 9, 2010
EMERGING ASIAN ARTISTS – ART PRIZES
Four Asian artists were nominated for Pulse Awards at the PULSE art fair which took place in New York City and Miami between 4-7 March 2010: Shun Duk Kang from Korea, Hiroshige Furuhaka from Japan, Farsad Labbauf from Iran and Sopheap Pich from Cambodia.
Though none of these four artists won either the PULSE award or the People’s Choice award, the fair gave them extensive exposure (they each won their own booths) and point to their status as emerging names in the global scene.
Shin Duk Kang, Heaven and Earth, 2008
Shin Duk Kang, a South Korean artist, is represented by Seoul’s Galerie Pici. She creates installation art that reflect the limits of her material while evoking nature in her work. She also makes prints, which utilize geometric forms to continue exploring the subject of nature.
Hiroshige Fukuhara, The Night Became Starless, 2008
Ai Kowada Gallery 9 represents Hiroshige Fukuhara, who specialises in drawings with graphite and black gesso on wood. Viewers are drawn to the simplicity of his works, as well as the subtle addition of graphite, which makes his black-on-black drawings shimmer from certain angles. Before PULSE, he was featured in PS1’s 2001 show “BUZZ CLUB: News from Japan.”
Farsad Labbauf, Joseph, 2007
Iranian artist Farsad Labbauf combines figurative painting with Iranian calligraphy to create a unified image, regardless of the content of the words or pictures within that image. He refers to his Persian heritage as his inspiration, especially its carpet-making tradition: that unrelated elements were able to come together in linear patterns to create a whole. He concludes that his work is “often an attempt for the union of the internal.”
Sopheap Pich, Cycle, 2005
Sopheap Pich is a Cambodian artist represented by Tyler Rollins Fine Art of New York. His work mostly consists of sculptures of bamboo and rattan that evoke both biomorphic figures and his childhood during the Khmer Rogue period. He has become a major figure in the Cambodian contemporary art scene.
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Posted in Asian, Cambodian, Drawing, Emerging artists, Fairs, Iranian, Japanese, Korean, New York, Painting, Prizes, Sculpture, USA | Tagged: art, art fair, artists, Asian artists, Asian contemporary artists, Calligraphy, cambodia, Cambodian artist, contemporary art, contemporary Asian art, Farsad Labbauf, Hiroshige Fukuhara, installation, Iran, Iranian artists, Japan, Japanese artist, Korean artist, New York City, print, PULSE art fair, sculpture, Shin Duk Kang, Sopheap Pich, South Korea | 1 Comment »
Posted by artradar on February 24, 2010
THAI FEMINIST ART
Pinaree Sanpitak, artistic chameleon and feminist artist, will hold her first New York exhibition, Quietly Floating, at Tyler Rollins Fine Art in March this year.
Quietly Floating Quietly Funny, 2008
Sanpitak is a prolific and celebrated Thai artist who takes her inspiration directly from the female form.
The exhibition will feature a series of large monochromatic paintings of breasts and cloud forms, a number of drawings on paper expressing the same imagery, and an installation of large aluminium mirrors.
Dark and Sweet, 2008
These works, created during a 2008 artist residency at the Montalvo Arts Center in California, USA, build on an earlier series of works titled Breasts and Clouds, started in Bangkok, Thailand, in 2006.
“The form of clouds came about in a hot studio in the summer months of Bangkok in 2006. Later a friend told me that there’s a word in Pali/Sanskrit called Pa-yo-ta-ra which means beholder of water and giver of milk.” (Pinaree Sanpitak, artist statement)
Over the Blue, Breasts and Clouds, 100 Tonson Gallery, Bangkok, 2007
A versatile and prolific artist, Sanpitak has worked in an abundance of mediums including painting, drawing, sculpture, textiles, ceramics, and performance. In 2005, she even delved into the culinary arts with her Breast Stupa Cookery series.
Breast Stupa Cookery
Sanpitak has been a powerful voice in Thai art since the 1980s, contributing a strong female presence to her local art scene.
Many critics and art writers contribute the formation of her artistic style to the birth of her son in 1993. However, it seems she has been working with abstracted female iconography since the late 1980s.
She has held solo exhibitions in Asia, America and Europe and has participated in major biennials in Australia, Italy, Japan and Korea.
Quietly Floating will show at New York gallery Tyler Rollins Fine Art from 4 March to 17 April this year. The gallery will host an artist talk on Saturday 13 March from 2 pm.
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Posted in Feminist art, Gallery shows, Illustration, New York, Painting, Sculpture, Thai, USA, Women power | Tagged: 100 Tonson Gallery, Breast Stupa Cookery, Breasts and Clouds, California, Drawing, feminist, illustration, Kate Nicholson, Montalvo Arts Center, new york, Painting, Pinaree Santipak, Quietly Floating, sculpture, Thailand, Tyler Rollins Fine Art | Leave a Comment »
Posted by artradar on January 29, 2010
PAKISTANI ART IN UNITED STATES
The Hanging Fire: Contemporary Art from Pakistan exhibition presented by the Asia Society Museum has recently wrapped up in New York City, but you can still get a taste for the show in this video, featuring the Asia Society Museum Director, Dr. Melissa Chiu.
The groundbreaking show, curated by the renowned Salma Hashmi, is the “first ever show of contemporary art from Pakistan in the United States” and features 15 artists from all over Pakistan.
The show ran from Sept 10, 2009-Jan 3, 2010, but a full-color, 160 page catalogue of the exhibition by Yale University Press is available for purchase.
Posted in Melissa Chiu, Museum shows, Museums, New York, Pakistani, USA, Videos | Tagged: Asia Society Museum, contemporary pakistani art, Hanging Fire: Contemporary Art From Pakistan, Melissa Chiu, Salma Hashmi | Leave a Comment »