November/December 2013 Volume 12, Number 6 Inside
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Joan Lebold Cohen Interview Transcript
www.china1980s.org INTERVIEW TRANSCRIPT JOAN LEBOLD COHEN Interviewer: Jane DeBevoise Date:31 Oct 2009 Duration: about 2 hours Location: New York Jane DeBevoise (JD): It would be great if you could speak a little bit about how you got to China, when you got to China – with dates specific to the ‘80s, and how you saw the 80’s develop. From your perspective what were some of the key moments in terms of the arts? Joan Lebold Cohen (JC): First of all, I should say that I had been to China three times before the 1980s. I went twice in 1972, once on a delegation in May for over three weeks, which took us to Beijing, Luoyang, Xi’an, and Shanghai and we flew into Nanchang too because there were clouds over Guangzhou and the planes couldn’t fly in. This was a period when, if you wanted to have a meal and you were flying, the airplane would land so that you could go to a restaurant (Laughter). They were old, Russian airplanes, and you sat in folding chairs. The conditions were rather…primitive. But I remember going down to the Shanghai airport and having the most delicious ‘8-precious’ pudding and sweet buns – they were fantastic. I also went to China in 1978. For each trip, I had requested to meet artists and to go to exhibitions, but was denied the privilege. However, there was one time, when I went to an exhibition in May of 1972 and it was one of the only exhibitions that exhibited Cultural Revolution model paintings; it was very amusing. -
PRESS RELEASE 30/04/2018 Liu Wa's First Solo Exhibition Fuses Tech
PRESS RELEASE 30/04/2018 Liu Wa, Glimpse: A Passing Look, composition 10, Acrylic on canvas. RGB color-coded painting, which will change successively under the light of a digital color system, 2018. Courtesy of Liu Wa and Sabsay. Liu Wa's first solo exhibition fuses tech and art, creating a breaking wave in the sea of the former generation of Chinese painters. Emerging artist, Liu Wa’s debut to Europe’s art scene is a venture into the little-know waters of neuroscience and the future of painting. Sabsay is thrilled to announce the opening of ‘Glimpse: A Passing Look’, a solo exhibition by Liu Wa, comprising an immersive installation of color-coded paintings, exploring the multifaceted interplay between technology, art, and man. Adapting the time-honoured Chinese painting tradition, Liu Wa merges silky brushstrokes with of-the- minute technology. The paintings on show are consummate evocations of texture and anatomy deeply understood, exacting the form of untouchable human bodies as they are being engulfed in an ecological apocalypse. Smoothly applied through the acrylic onto the canvases, the scenes only fully appear under the light of a digital color system. The experience is triggered by the viewer’s brainwaves via the tracking by an electroencephalogram (EEG) headband. “ In different states of mind, one will perceive the same paintings differently. As one viewer controls the color of the environment through her brainwaves, others can also see what she sees. I intend to question the boundaries between reality and illusion as well as self and other,” the artist explains and continues: “The real appearance of the paintings remains unknown, alluding to one’s perceptions of the external world, both subjective and fluid. -
Yu Buyu: a Curatorial Studio: a Business Plan 2019-2024 Jing Mei Yu
Sotheby's Institute of Art Digital Commons @ SIA MA Projects Student Scholarship and Creative Work 2018 Yu Buyu: A Curatorial Studio: A Business Plan 2019-2024 Jing Mei Yu Follow this and additional works at: https://digitalcommons.sia.edu/stu_proj Part of the Arts Management Commons, and the Fine Arts Commons YU BUYU: A Curatorial Studio A Business Plan 2019-2024 Chengdu, China Jing Mei Yu MA Art Business Master’s Project December, 2018 Word Count: 4256 words Abstract The paper proposed a five-year business plan for establishing a curatorial studio in Chengdu, China - YU BUYU. It analysed the current statues of contemporary art in Chengdu from different perspectives, for example, in terms of museums, galleries, art fair, and etc. By analysing the situation, the paper identified Chengdu’s area of improvement - to grow the local art ecosystem between museums, galleries, artists and individual collectors by strengthen the connections and relationships between different sectors and increase interactions with wider art community. The paper thus proposed the curatorial studio as an active gathering place to exhibit emerging art, to connect local art institutions, to promote educational programs, and to help build up the contemporary art ecosystem of Chengdu. Table of Content 1.0 Executive Summary 1 2.0 Background Analysis 3 2.1 Art Landscape in Chengdu 3 2.1.1 Museums 4 2.1.2 Galleries 6 2.1.3 Art Fair 7 2.1.4 Art Districts 8 2.1.5 Artist 8 3.0 Program Description 10 4.0 Marketing Plan 13 5.0 Operation and Development Plans 15 6.0 Basic Financials 18 7.0 Conclusion 20 8.0 Bibliography 21 Illustration Fig 1. -
Art: China ‑ WSJ.Com
7/12/12 Art: China ‑ WSJ.com Dow Jones Reprints: This copy is for your personal, noncommercial use only. To order presentationready copies for distribution to your colleagues, clients or customers, use the Order Reprints tool at the bottom of any article or visit www.djreprints.com See a sample reprint in PDF format. Order a reprint of this article now WEEKEND JOURNAL November 17, 2007 PICKS Art: China With new Chinese works hot at auction, galleries and museums join the action By LAUREN A.E. SCHUKER On the auction block this week, Chinese contemporary art set records, with some works selling for nearly $5 million. Works by a number of the same artists, including Yang Shaobin, Yue Minjun and Zhang Xiaogang, are also on display and on sale this month at a variety of U.S. galleries and museums. Below, three New York shows featuring contemporary Chinese artists this month. Eli Klein Fine Art 'China Now: Lost in Transition' On view Nov. 17 through Jan. 15 The SoHo gallery opens its second major show today, featuring works by 13 Chinese contemporary artists, such as 20something Zhang Peng, that director Rebecca Heidenberg handpicked during a trip to Beijing. Arario Gallery 'Absolute Images II' Nov. 10 through Jan. 13 The inaugural show for the gallery's New York space features 11 artists from Beijing and Shanghai, including abstract painter Yang Shaobin (left) and symbolistsurrealist Zhang Xiaogang. The works sell for up to $1 million, and some, such as Mr. Yang's "Blood Brothers" series, are so fresh that "the paint isn't even dry yet," according to director Jane Yoon. -
Leading Cultural Figures Attend Asia Society Art Gala, Launching Art Basel in Hong Kong
FOR IMMEDIATE RELEASE LEADING CULTURAL FIGURES ATTEND ASIA SOCIETY ART GALA, LAUNCHING ART BASEL IN HONG KONG GUESTS INCLUDED ROBERT AND CHANTAL MILLER, JULIA AND VICTOR FUNG & BASSAM SALEM THIS YEAR’S HONOUREES FEATURED BHARTI KHER, LIU GUOSONG, TAKASHI MURAKAMI & ZHANG XIAOGANG (Hong Kong, 15 May 2014) More than four hundred of the world’s most distinguished collectors, curators, gallerists and dignitaries gathered this evening to honor four exceptional contemporary artists at the Asia Society’s second annual Art Gala, hosted by Ms. S. Alice Mong and Dr. Melissa Chiu at their spectacular Hong Kong Center. Kicking off Art Basel in Hong Kong, the evening celebrated world-renowned artists Bharti Kher, Liu Guosong, Takashi Murakami and Zhang Xiaogang for their extraordinary contributions to contemporary art in Asia. Guests were also treated to a private viewing of the first major solo exhibition of Xu Bing’s work in Hong Kong, currently on display through 31 August 2014. Notable guests included artists Li Songsong, Mariko Mori, Michael Joo and Song Dong. International collectors attended, including Deddy Kusama, Basma Al Sulaiman, Maggie Tsai, Alexandra Prasetio, and Bharat and Swati Bhise. Gallerists present included Nick Simunovic of Gasgosian Gallery, one of the evening’s hosts, Rachel Lehmann, Emmanuel Perrotin, Arne Glimcher, Marcia Levine, and Jane Lombard and Lisa Carlson. Supporters of Asia Society included Robert and Chantal Miller, Hal and Ruth Newman, Mitch and Joleen Julis. Other guests included actress Lynn Hsieh, Nam June Paik’s Nephew, Ken Hakuta, Director of Art Basel, Marc Spiegler, Managing Director of Christie’s Asia, Rebecca Wei, and Curator of UBS Art Collection, Stephen McCoubrey. -
Independent Cinema in the Chinese Film Industry
Independent cinema in the Chinese film industry Tingting Song A thesis submitted in partial fulfilment of the requirements of the degree of Doctor of Philosophy Faculty of Creative Industries Queensland University of Technology 2010 Abstract Chinese independent cinema has developed for more than twenty years. Two sorts of independent cinema exist in China. One is underground cinema, which is produced without official approvals and cannot be circulated in China, and the other are the films which are legally produced by small private film companies and circulated in the domestic film market. This sort of ‘within-system’ independent cinema has played a significant role in the development of Chinese cinema in terms of culture, economics and ideology. In contrast to the amount of comment on underground filmmaking in China, the significance of ‘within-system’ independent cinema has been underestimated by most scholars. This thesis is a study of how political management has determined the development of Chinese independent cinema and how Chinese independent cinema has developed during its various historical trajectories. This study takes media economics as the research approach, and its major methods utilise archive analysis and interviews. The thesis begins with a general review of the definition and business of American independent cinema. Then, after a literature review of Chinese independent cinema, it identifies significant gaps in previous studies and reviews issues of traditional definition and suggests a new definition. i After several case studies on the changes in the most famous Chinese directors’ careers, the thesis shows that state studios and private film companies are two essential domestic backers for filmmaking in China. -
Asian Contemporary Art May 24-25
FOR IMMEDIATE RELEASE May 7, 2008 Contact: Kate Swan Malin +852 2978 9966 [email protected] Yvonne So +852 2978 9919 [email protected] Christie’s Hong Kong Presents Asian Contemporary Art May 24-25 • Largest and most-valuable sale of Asian Contemporary Art ever offered • Leading Names in Chinese, Japanese, Korean, Indian Contemporary Art highlight 2 days of sales • 417 works with a pre-sale estimate of HK$320 million/US$41million • Series kicks off with the inaugural Evening Sale of Asian Contemporary Art – a first for the category worldwide Asian Contemporary Art Sale Christie’s Hong Kong Evening Sale - Saturday, May 24, 7:30 p.m. Day Sale - Sunday, May 25, 1:30 p.m. Hong Kong – Christie’s, the world’s leading art business, will present a two-day series of sales devoted to Asian Contemporary Art on May 24 -25 in Hong Kong, opening with the first-ever Evening Sale for the category. This sale falls on the heels of Christie’s record-breaking sale of Asian Contemporary Art in November 2007* and will offer unrivalled examples from leading Contemporary Art masters from China, Japan, Korea, India and throughout Asia, including works from artists such as Zeng Fanzhi, Yue Minjun, Zhang Xiaogang, Wang Guangyi, Hong Kyoung Tack, Kim Tschang Yeul, Yoyoi Kusama, Aida Makoto, Yasuyuki Nishio, and Hisashi Tenmyouya. Offering 417 works across two important days of sales, this is the largest and most valuable offer of Asian Contemporary Art ever presented. Chinese Contemporary Art Chinese contemporary artists display a myriad range of styles. Yue Minjun’s work, with its vivid imagery and unique stylistic features, occupies a very special position in Contemporary Chinese art. -
Chinese Contemporary Art-7 Things You Should Know
Chinese Contemporary Art things you should know By Melissa Chiu Contents Introduction / 4 1 . Contemporary art in China began decades ago. / 14 2 . Chinese contemporary art is more diverse than you might think. / 34 3 . Museums and galleries have promoted Chinese contemporary art since the 1990s. / 44 4 . Government censorship has been an influence on Chinese artists, and sometimes still is. / 52 5 . The Chinese artists’ diaspora is returning to China. / 64 6 . Contemporary art museums in China are on the rise. / 74 7 . The world is collecting Chinese contemporary art. / 82 Conclusion / 90 Artist Biographies / 98 Further Reading / 110 Introduction 4 Sometimes it seems that scarcely a week goes by without a newspaper or magazine article on the Chinese contemporary art scene. Record-breaking auction prices make good headlines, but they also confer a value on the artworks that few of their makers would have dreamed possible when those works were originally created— sometimes only a few years ago, in other cases a few decades. It is easy to understand the artists’ surprise at their flourishing market and media success: the secondary auction market for Chinese contemporary art emerged only recently, in 2005, when for the first time Christie’s held a designated Asian Contemporary Art sale in its annual Asian art auctions in Hong Kong. The auctions were a success, including the modern and contemporary sales, which brought in $18 million of the $90 million total; auction benchmarks were set for contemporary artists Zhang Huan, Yan Pei-Ming, Yue Minjun, and many others. The following year, Sotheby’s held its first dedicated Asian Contemporary sale in New York. -
Artnet and the China Association of Auctioneers Global Chinese Antiques and Art Auction Market B Annual Statistical Report: 2012
GLOBAL CHINESE ANTIQUES AND ART AUCTION MARKET ANNUAL STATISTICAL REPORT 2012 artnet and the China Association of Auctioneers Global Chinese Antiques and Art Auction Market B Annual Statistical Report: 2012 Table of Contents ©2013 Artnet Worldwide Corporation. ©China Association of Auctioneers. All rights reserved. Letter from the China Association of Auctioneers (CAA) President ........... i About the China Association of Auctioneers (CAA) ................................. ii Letter from the artnet CEO .................................................................. iii About artnet ...................................................................................... iv 1. Market Overview ............................................................................. v 1.1 Industry Scale ............................................................................. 1 1.2 Market Scale ............................................................................. 3 1.3 Market Share ............................................................................. 5 2. Lot Composition and Price Distribution ........................................ 9 2.1 Lot Composition ....................................................................... 10 2.2 Price Distribution ...................................................................... 21 2.3 Average Auction Prices ............................................................. 24 2.4 High-Priced Lots ....................................................................... 27 3. Regional Analysis -
Teacher Notes
Queensland Art Gallery Gallery of Modern Art TEACHER NOTES A list of the didactic and label information on each of the artists Cultural Revolution (1966–76) — from the massive public rallies, featured in ‘The China Project’ slideshow are listed below. These denunciations, humiliations and executions to scenes from provide background reading for teachers who are planning a everyday life; from a beautiful sunrise to domestic settings. Li’s school visit to the exhibition. negatives survived the period hidden under the floorboards of his home, and his photographs form a fascinating and rare chronicle WILLIAM YANG of the time. Photographer and performer William Yang has consistently In Harbin, the effects of the Cultural Revolution were heavily recorded his life since the early 1970s, from his family history in felt, with the destruction of temples and attacks on leading far north Queensland to the overlapping artistic and gay scenes party officials accused of being ‘black gang elements’. Li and in his adopted home of Sydney, to his travels around Australia other documentary photographers were subject to orders from and to China. His works provide a unique chronicle of Australian Mao Zedong to focus on the ‘positive’ aspects of the Cultural cultural life and offer rare insights into the experiences and stories Revolution, and his images of song and dance companies of Australian–Chinese people. performing revolutionary operas, or of peasants gathered together to read Mao’s words, reflect Mao’s commands to the media. Yang’s grandparents emigrated from southern China during the However, Li formed his own ‘Red Guard’ group, which allowed northern Australian gold rush of the 1880s. -
Art and China's Revolution
: january / february 9 January/February 2009 | Volume 8, Number 1 Inside Special Feature: The Phenomenon of Asian Biennials and Triennials Artist Features: Yang Shaobin, Li Yifan Art and the Cultural Revolution US$12.00 NT$350.00 6 VOLUME 8, NUMBER 1, JANUARY/FEBRUARY 2009 CONTENTS 2 Editor’s Note 32 4 Contributors Autumn 2008 Asian Biennials 6 Premature Farewell and Recycled Urbanism: Guangzhou Triennial and Shanghai Biennale in 2008 Hilary Tsiu 16 Post-West: Guangzhou Triennial, Taipei Biennial, and Singapore Biennale Jo-Anne Birnie Danzker Contemporary Asian Art and the Phenomenon of the Biennial 30 Introduction 54 Elsa Hsiang-chun Chen 32 Biennials and the Circulation of Contemporary Asian Art John Clark 41 Periodical Exhibitions in China: Diversity of Motivation and Format Britta Erickson 47 Who’s Speaking? Who’s Listening? The Post-colonial and the Transnational in Contestation and the Strategies of the Taipei Biennial and the Beijing International Art Biennale Kao Chien-hui 54 Contradictions, Violence, and Multiplicity in the Globalization of Culture: The Gwangju Biennale 78 Sohl Lee 61 The Imagined Trans-Asian Community and the Fukuoka Asian Art Triennale Elsa Hsiang-chun Chen Artist Features 67 Excerpts fom Yang Shaobin’s Notebook: A Textual Interpretation of X-Blind Spot Long March Writing Group 78 Li Yifan: From Social Archives to Social Project Bao Dong Art During the Cultural Revolution 94 84 Art and China’s Revolution Barbara Pollack 88 Zheng Shengtian and Hank Bull in Conversation about the Exhibition Art and China’s Revolution, Asia Society, New York 94 Red, Smooth, and Ethnically Unified: Ethnic Minorities in Propaganda Posters of the People’s Republic of China Micki McCoy Reviews 101 Chen Jiagang: The Great Third Front Jonathan Goodman 106 AAA Project: Review of A-Z, 26 Locations to Put Everything 101 Melissa Lam 109 Chinese Name Index Yuan Goang-Ming, Floating, 2000, single-channel video, 3 mins. -
James Cox Interview Transcript
www.china1980s.org INTERVIEW TRANSCRIPT JAMES COX Interviewer: Jane DeBevoise Date:10 Nov 2009 Duration: about 1 hr 27 mins Location: New York Jane DeBevoise (JD): I would love for you to talk a little bit about Grand Central Gallery, what it represented, whom it represented, your impressions about the exhibition, and how relationships were developed. You can tell any stories you want to tell. To begin, can you talk a little bit about Grand Central Gallery, how it was positioned and how you came upon these artists? James Cox (JC): I came to New York in 1976, and the reason my wife and I came was that I got a job, which is always a wonderful opportunity. I was 30 years old. I met my wife in Oklahoma City when we were in college together. Her father was an artist who showed in Chicago, New York, and Santa Fe. The New York gallery that represented him was the Grand Central Gallery. He was very familiar with the staff but more importantly he was familiar with the first Director of Grand Central Galley, who founded the gallery in 1922. He had been director for 56 years and was ready to retire. My father-in-law kept saying, ‘You really ought to go to New York and get in touch with the board; let them know that you are available…’, and so on. So I did that. I was very lucky to be hired. In brief, the gallery was set up to showcase American art, and was backed up by prominent American businessman including very major names in business, banking, and law.