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(Chen Qiulin), 25F a Cheng, 94F a Xian, 276 a Zhen, 142F Abso
Index Note: “f ” with a page number indicates a figure. Anti–Spiritual Pollution Campaign, 81, 101, 102, 132, 271 Apartment (gongyu), 270 “......” (Chen Qiulin), 25f Apartment art, 7–10, 18, 269–271, 284, 305, 358 ending of, 276, 308 A Cheng, 94f internationalization of, 308 A Xian, 276 legacy of the guannian artists in, 29 A Zhen, 142f named by Gao Minglu, 7, 269–270 Absolute Principle (Shu Qun), 171, 172f, 197 in 1980s, 4–5, 271, 273 Absolution Series (Lei Hong), 349f privacy and, 7, 276, 308 Abstract art (chouxiang yishu), 10, 20–21, 81, 271, 311 space of, 305 Abstract expressionism, 22 temporary nature of, 305 “Academic Exchange Exhibition for Nationwide Young women’s art and, 24 Artists,” 145, 146f Apolitical art, 10, 66, 79–81, 90 Academicism, 78–84, 122, 202. See also New academicism Appearance of Cross Series (Ding Yi), 317f Academic realism, 54, 66–67 Apple and thinker metaphor, 175–176, 178, 180–182 Academic socialist realism, 54, 55 April Fifth Tian’anmen Demonstration (Li Xiaobin), 76f Adagio in the Opening of Second Movement, Symphony No. 5 April Photo Society, 75–76 (Wang Qiang), 108f exhibition, 74f, 75 Adam and Eve (Meng Luding), 28 Architectural models, 20 Aestheticism, 2, 6, 10–11, 37, 42, 80, 122, 200 Architectural preservation, 21 opposition to, 202, 204 Architectural sites, ritualized space in, 11–12, 14 Aesthetic principles, Chinese, 311 Art and Language group, 199 Aesthetic theory, traditional, 201–202 Art education system, 78–79, 85, 102, 105, 380n24 After Calamity (Yang Yushu), 91f Art field (yishuchang), 125 Agree -
Shapiro Auctions
Shapiro Auctions RUSSIAN ART AUCTION INCLUDING POSTERS & BOOKS Tuesday - June 15, 2010 RUSSIAN ART AUCTION INCLUDING POSTERS & BOOKS 1: GUBAREV ET AL USD 800 - 1,200 GUBAREV, Petr Kirillovich et al. A collection of 66 lithographs of Russian military insignia and arms, from various works, ca. 1840-1860. Of varying sizes, the majority measuring 432 x 317mm (17 x 12 1/2 in.) 2: GUBAREV ET AL USD 1,000 - 1,500 GUBAREV, Petr Kirillovich et al. A collection of 116 lithographs of Russian military standards, banners, and flags from the 18th to the mid-19th centuries, from various works, ca. 1830-1840. Of varying sizes, the majority measuring 434 x 318mm (17 1/8 x 12 1/2 in.) 3: RUSSIAN CHROMOLITHOGRAPHS, C1870 USD 1,500 - 2,000 A collection of 39 color chromolithographs of Russian military uniforms predominantly of Infantry Divisions and related Artillery Brigades, ca. 1870. Of various sizes, the majority measuring 360 x 550mm (14 1/4 x 21 5/8 in.) 4: PIRATSKII, KONSTANTIN USD 3,500 - 4,500 PIRATSKII, Konstantin. A collection of 64 color chromolithographs by Lemercier after Piratskii from Rossiskie Voiska [The Russian Armies], ca. 1870. Overall: 471 x 340mm (18 1/2 x 13 3/8 in.) 5: GUBAREV ET AL USD 1,200 - 1,500 A collection of 30 lithographs of Russian military uniforms [23 in color], including illustrations by Peter Kirillovich Gubarev et al, ca. 1840-1850. Of varying sizes, the majority measuring 400 x 285mm (15 3/4 x 11 1/4 in.), 6: DURAND, ANDRE USD 2,500 - 3,000 DURAND, André. -
NY ACKER Awards Is Taken from an Archaic Dutch Word Meaning a Noticeable Movement in a Stream
1 THE NYC ACKER AWARDS CREATOR & PRODUCER CLAYTON PATTERSON This is our 6th successful year of the ACKER Awards. The meaning of ACKER in the NY ACKER Awards is taken from an archaic Dutch word meaning a noticeable movement in a stream. The stream is the mainstream and the noticeable movement is the avant grade. By documenting my community, on an almost daily base, I have come to understand that gentrification is much more than the changing face of real estate and forced population migrations. The influence of gen- trification can be seen in where we live and work, how we shop, bank, communicate, travel, law enforcement, doctor visits, etc. We will look back and realize that the impact of gentrification on our society is as powerful a force as the industrial revolution was. I witness the demise and obliteration of just about all of the recogniz- able parts of my community, including so much of our history. I be- lieve if we do not save our own history, then who will. The NY ACKERS are one part of a much larger vision and ambition. A vision and ambition that is not about me but it is about community. Our community. Our history. The history of the Individuals, the Outsid- ers, the Outlaws, the Misfits, the Radicals, the Visionaries, the Dream- ers, the contributors, those who provided spaces and venues which allowed creativity to flourish, wrote about, talked about, inspired, mentored the creative spirit, and those who gave much, but have not been, for whatever reason, recognized by the mainstream. -
Going Everywhere and Nowhere from Moscow to the Urals – How Curatorial Delusions of Global Grandeur Betray Russian Art
GOING EVERYWHERE AND NOWHERE FROM MOSCOW TO THE URALS – HOW CURATORIAL DELUSIONS OF GLOBAL GRANDEUR BETRAY RUSSIAN ART BY SIMON HEWITT I : A MOSCOW MIRED IN MEMORIES A BANNER was dangling from the giant triumphal portico of VDNKh, beneath the two collective farmworkers brandishing their bale of straw. It advertised the 6th Moscow Biennale – the number 6 allotted spiralling arms to resemble a Catherine Wheel. But the banner was challenged by a bigger hoarding wheeled on to the piazza below, blowing the trumpet of a separate festival called Circle of Light . The Biennale’s main show was taking place just behind Lenin in VDNKh’s Central Pavilion (also known as Pavilion N°1), erected in 1954 and topped by a 350-foot spire modelled on the St Petersburg Admiralty. The Biennale was meant to open at noon. I tried to find the entrance but couldn’t. There were no signs. No information about where and when the Biennale could be visited. Yuri Albert’s immortal line breezed through my mind: The Biennale cannot and will not take place . The 6 th Moscow Biennale had been having well-publicized financial problems. Was it so bankrupt that it had ceased to exist, morphing instead into a Conceptualist joke? VDNKh, six miles north of Red Square, was the sixth venue for the Moscow Biennale’s main exhibition. It had previously been held in the former Lenin Museum near Red Square; the under-construction Federation Tower at Moscow City; the newly restored Garage (now Jewish) Museum during its brief Abramovich/Zhukova tenancy; the renovated ArtPlay cultural and commercial complex; and, in 2013, the Manezh. -
Art Market Trends Tendances Du Marché De L'art
Art market trends Tendances du marché de l'art THE WORLD LEADER IN ART MARKET INFORMATION Art market trends Tendances du marché de l'art 2005 $ 4.15 billion (€ 3.38 billion) 3.38 (€ billion 4.15 $ worldwide: auctions Art Fine at Turnover offer. on lots 320,000 of volume stable practically billion, vs. 3.6 $ billion the previous year, In despite 2005 the a turnover for record-breaking! Fine are gures Art sales fi The exceeded 4 $ well. so performed never has market art international The a million dollars, compared with compared in only 393 2004 dollars, a and million than more for hammer the under went lots 477 than less into of a rise sales 1 multiplication $ exceeding No million 19% the from translated ation on in recorded infl 2004. price This following already year, last 10.4%* of increase came on the of back a progression price incredible This Tendances du marché de l'art de marché du Tendances Art market trends trends market Art Artprice Global Index: Paris - New York - London (1994 - 2005) Base January 1994 = 100 - Quarterly data Artprice Indices are calculated with the Repeated Sales method (Econometric calculations on sales/resales of similar works) 10 000 $, 10 et 56% en deçà de 000 $.2 Ce segment est en 2005 en publiques ventes ont adjugés été moins de cette cette année, faisant suite aux d’affaires 19% mondial, de une hausse élévation déjà des A prix l’origine de de cette 10,4% incroyable progression du chiffre (3,38 d’euro) dollars de milliards milliards 4,15 : mondiales enchères Artaux Fine de ventes des Produit présentés. -
Shapiro Auctions
Shapiro Auctions RUSSIAN + INTERNATIONAL ART & ANTIQUES Saturday - June 7, 2014 RUSSIAN + INTERNATIONAL ART & ANTIQUES 1: GUSTAV KLIMT (AUSTRIAN 1862-1918), Gustav Klimt. USD 3,000 - 5,000 GUSTAV KLIMT (AUSTRIAN 1862-1918), Gustav Klimt. Funfundzwanzig Handzeichnungen. [Gustav Klimt. Twenty-Five Hand Drawings]. 25 collotype plates, average size 510x330 mm; 20 1/8 x 13 inches, image, tipped to window mounts. Folio, plates and folded folio leaf containing title, plate list, and colophon laid into publisher's boards with cover title. Spine and flaps reinforced with linen. Printed by Max Jaffé. Number 275 of 500 copies. Vienna: Gilhofer & Ranschburg, (1919). Complete as published., 2: EGON SCHIELE (AUSTRIAN 1890-1918), Zeichnungen: Egon USD 7,000 - 9,000 EGON SCHIELE (AUSTRIAN 1890-1918), Zeichnungen: Egon Schiele. 12 Blatter in Originalgrosse. [Drawings: Egon Schiele. 12 Plates in Original Size] 12 Heliotype plates, of which 11 are original and 1 (plate VII) is a facsimile. Average size of plates: 475x310mm (18 3/4 x 12 1/4 in.). The title page HANDSIGNED, DATED AND NUMBERED BY EGON SCHIELE. Folio, introduction plate, and title page containting title, plate list, and colophone laid into publisher's boards with cover illustrated with Schiele's self-portrait . Printed by Max Jaffé. number 245 of 400 copies. Vienna: Buchhandlung Richard Lanyi, 1917. This very rare portfolio was printed in 1917 by Max Jaffe under Schiele's supervision, one year before Schiele's death in 1917. The printing plates and negatives were destroyed after printing to ensure that the printing would stay unique. The inside cover of the portfolio bears an ex-libris sticker from Helene Goldstern. -
A Rich Offering of Rare and Rediscovered Russian Art at Christie’S in November
For Immediate Release 11 November 2011 Contact: Alexandra Kindermann +41 44 268 10 19 [email protected] Matthew Paton 20 7389 2695 [email protected] A RICH OFFERING OF RARE AND REDISCOVERED RUSSIAN ART AT CHRISTIE’S IN NOVEMBER London - On 28 November, Christie's will present an exceptional auction, offering the strongest selection of Russian paintings and works of art on the market this season. The sale will offer rediscovered treasures by many of the most celebrated artists in the field, including Natalia Goncharova, Vasily Vereshchagin, Boris Grigoriev, Filipp Maliavin and Alexander Volkov. This selection is led by Vasily Vereshchagin‟s undisputed masterpiece Crucifixion by the Romans (see separate release) offered on behalf of the Brooklyn Museum and by two pairs of exquisite vases produced by the Imperial Porcelain Factory under Emperor Nicholas I. The sale will also feature over forty works of art by Fabergé, many distinguished by their rare Imperial provenance. Highlighted by masterpieces of tremendous importance and scale, the sale brings together outstanding examples of Russian art, much of which is appearing on the market for the first time in decades. MASTERS OF THE 19th CENTURY In addition to Vasily Vereshchagin‟s epic canvas, Christie‟s is delighted to present a number of outstanding 19th century paintings, including the highly exciting discovery of Viktor Vasnetsov‟s (1848-1926) truly iconic A Bogatyr. Under the patronage of the Moscow merchants, Savva Mamontov and Pavel Tretyakov, Vasnetsov designed and built a new studio which allowed him to work on a monumental scale, creating works such as his most famous masterpiece, Bogatyrs (1876-1898, State Tretyakov Gallery). -
Issue 5 • Winter 2021 5 Winter 2021
Issue 5 • Winter 2021 5 winter 2021 Journal of the school of arts and humanities and the edith o'donnell institute of art history at the university of texas at dallas Athenaeum Review_Issue 5_FINAL_11.04.2020.indd 185 11/6/20 1:24 PM 2 Athenaeum Review_Issue 5_FINAL_11.04.2020.indd 2 11/6/20 1:23 PM 1 Athenaeum Review_Issue 5_FINAL_11.04.2020.indd 1 11/6/20 1:23 PM This issue of Athenaeum Review is made possible by a generous gift from Karen and Howard Weiner in memory of Richard R. Brettell. 2 Athenaeum Review_Issue 5_FINAL_11.04.2020.indd 2 11/6/20 1:23 PM Athenaeum Review Athenaeum Review publishes essays, reviews, Issue 5 and interviews by leading scholars in the arts and Winter 2021 humanities. Devoting serious critical attention to the arts in Dallas and Fort Worth, we also consider books and ideas of national and international significance. Editorial Board Nils Roemer, Interim Dean of the School of Athenaeum Review is a publication of the School of Arts Arts and Humanities, Director of the Ackerman and Humanities and the Edith O’Donnell Institute of Center for Holocaust Studies and Stan and Art History at the University of Texas at Dallas. Barbara Rabin Professor in Holocaust Studies School of Arts and Humanities Dennis M. Kratz, Senior Associate Provost, Founding The University of Texas at Dallas Director of the Center for Asian Studies, and Ignacy 800 West Campbell Rd. JO 31 and Celia Rockover Professor of the Humanities Richardson, TX 75080-3021 Michael Thomas, Director of the Edith O’Donnell Institute of Art History and Edith O’Donnell [email protected] Distinguished University Chair in Art History athenaeumreview.org Richard R. -
Reflections on Anonymity and Contemporaneity in Chinese Art Beatrice Leanza
PLACE UNDER THE LINE PLACE UNDER THE LINE : july / august 1 vol.9 no. 4 J U L Y / A U G U S T 2 0 1 0 VOLUME 9, NUMBER 4 INSIDE New Art in Guangzhou Reviews from London, Beijing, and San Artist Features: Gu Francisco Wenda, Lin Fengmian, Zhang Huan The Contemporary Art Academy of China Identity Politics and Cultural Capital in Contemporary Chinese Art US$12.00 NT$350.00 PRINTED IN TAIWAN 6 VOLUME 9, NUMBER 4, JULY/AUGUST 2010 CONTENTS 2 Editor’s Note 33 4 Contributors 6 The Guangzhou Art Scene: Today and Tomorrow Biljana Ciric 15 On Observation Society Anthony Yung Tsz Kin 20 A Conversation with Hu Xiangqian 46 Biljana Ciric, Li Mu, and Tang Dixin 33 An interview with Gu Wenda Claire Huot 43 China Park Gu Wenda 46 Cubism Revisited: The Late Work of Lin Fengmian Tianyue Jiang 63 63 The Cult of Origin: Identity Politics and Cultural Capital in Contemporary Chinese Art J. P. Park 73 Zhang Huan: Paradise Regained Benjamin Genocchio 84 Contemporary Art Academy of China: An Introduction Christina Yu 87 87 Of Jungle—In Praise of Distance: Reflections on Anonymity and Contemporaneity in Chinese Art Beatrice Leanza 97 Shanghai: Art of the City Micki McCoy 104 Zhang Enli Natasha Degan 97 111 Chinese Name Index Cover: Zhang Huan, Hehe Xiexie (detail), 2010, mirror-finished stainless steel, 600 x 420 x 390 cm. Courtesy of the artist. Vol.9 No.4 1 Editor’s Note YISHU: Journal of Contemporary Chinese Art president Katy Hsiu-chih Chien legal counsel Infoshare Tech Law Office, Mann C.C. -
Unified Style
8 L a c k i n g a u n i fi e d s t y l e Note: you are reading an excerpt from: James Elkins, “Failure in Twentieth-Century Painting” (unpublished MS) Revised 9.2001 This page was originally posted on: www.jameselkins.com Send all comments to: [email protected] A painter who lacks all style, who is compelled to mimic others, is unoriginal: the subject of Chapter 3. It is a different matter to be unable to find a voice, a manner, or a consistent approach, so that it’s necessary work work by cobbling together different styles. Stylistic mixture was frequently a deliberate strategy in twentieth-century painting, for example in cubist collage, dada, surrealism, pop art, and some postmodernism: but in the majority of cases a lack of unity remains the inevitable sign of beginner’s painting. When a student painter hasn’t found a voice, she will try different things, sampling one and then another, until eventually (hopefully, in graduate school) something emerges that ties the work together, and a unified style emerges—it’s a mysterious accomplishment, one that is not prone to clear analysis.1 Outside the West, lack of unified style is a serious problem, not only because intentionally disunified styles such as surrealism tend to be less popular, but because each artist has to face the problem of bringing their own country’s art into some reapprochement with aspects of Western painting. In this chapter I consider disunified painting in several regions of Asia: China, India, Japan, and the Central Asian Republics. -
Questions and Answers for the Centenary of the Brand Price : €6 GRÉGOIRE THONNAT
Who is the founder of Citroën automobiles? What was the first car produced by Citroën? What is the ‘Citroën Central Asia’ Expedition? What do Citroën Traction Avant, Citroën 2 CV, Citroën DS and Citroën Ami 6 have in common? Who invented Citroën Mehari? What is the bestselling car in the Brand’s history? In 80 questions and answers, a timeline and the description of 10 iconic models, this little book will help you (re)discover Citroën’s fabulous history through iconic models, technical innovations and the people who wrote this unique industrial adventure that has revolutionised the history of the automobile since 1919. Questions and answers for the centenary of the Brand Price : €6 GRÉGOIRE THONNAT LE PETIT QUIZZ Questions and answers for the centenary of the Brand GRÉGOIRE THONNAT SUMMARY Preface 5 Questions and answers 7 A brief timeline of Citroën 89 10 iconic vehicles of the Brand 101 The Citroën brand 123 5 Dear readers, There is a reason why the Citroën 2 CV is as much a symbol of France as the Eiffel Tower…because we all have a Citroën story to tell! However, do you know the story of Citroën itself? Le Petit Quiz invites you to (re)discover Citroën’s journey from the origin of its logo to its many technological innovations, from legendary cars to its sporting achievements, and taking a detour through its cult advertising campaigns throughout the years. These 80 questions will help you discover amusing anecdotes and relive Citroën’s history! As the centenary of Citroën approaches, this is the essential tool to ensure you are ‘up to speed’ with one of the most collected car brands in the world… Linda Jackson, CEO, Citroën Brand 5 QUESTIONS AND ANSWERS 7 WHO WAS THE FOUNDER OF CITROËN? André Citroën! Born on 5 February 1878, André graduated from École Polytechnique and then went on to found Engrenages Citroën in 1905, before leading Mors automobiles in 1908. -
THE ART MARKET in 2015 Nota Bene : • All the Fine Art Auction Prices Quoted in This Report Include Buyer Fees
THE ART MARKET IN 2015 Nota Bene : • All the Fine Art auction prices quoted in this report include buyer fees. • For the purposes of this report, Fine Art includes paintings, sculptures, installations, drawings, photographs, videos, tapestries and prints. It does not include antiques, anonymous cultural goods and furniture. • “Western Art Market” means all countries of the world, except China. • All $ symbols refer to the US dollars and all ¥ symbols refer to the Chinese yuan. The exchange rate used by AMMA for the Chinese market data is an average annual rate. • The two main categories of Chinese art are “Chinese Painting & Calligraphy” and “Oil Painting & Contemporary Art”. • “Chinese Painting & Calligraphy” refers to traditional Chinese art forms usually created with Indian ink (Chinese ink) on various substrates such as Xuan paper, silk or fans. These may take the form of calligraphy, with subjects like poems, words and wishes, or traditional Chinese painting, representing landscapes, people, birds and flowers. • The “Oil Painting & Contemporary Art” category refers to artworks created by Chinese artists who have adopted Western techniques and media (oil painting, photography, sculpture, installation, pencil drawing, gouache, watercolor, etc.) after the first canvas oil painting was shown in China in 1579. • Old Masters: works by artists born before 1760. • 19th Century Art: works by artists born between 1760 and 1860. • Post-War Art: works by artists born between 1920 and 1945. • Contemporary Art: works by artists born after 1945 Thierry Ehrmann, founder largely driven by globalisation of the mar- IN 2015 the WEStern ket, with strong economic growth and an and CEO of Artprice: intensification of demand at the high-end “Wan Jie, CEO of Artron group and founder of the Western market.