Contemporary Art: Japan

On March 15, 2013, Mori Art Museum Chief Curator Mami Kataoka presented a lecture at the Art Gallery of Ontario titled "Contemporary Art in Japan: Visions and Views of the Universe."



more info here

Chauvet Cave : Art

The Cave of Forgotten Dreams




Cave of Forgotten Dreams is a 2010 3D documentary film by Werner Herzog, about the Chauvet Cave, a cavern in southern France that contains the oldest human-painted images yet discovered, some as old as 32,000 years.

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The cave was discovered in December 1994 by three French cavers, Jean-Marie Chauvet, Éliette Brunel Deschamps and Christian Hillaire. Following an air current coming from the cliff, they dug and crawled their way into the cave, which had been sealed tight for some 20,000 years. After finally making their way to an enormous chamber, Ms. Deschamps held up her lamp and, seeing an image of a mammoth, cried out, “They were here,” a glorious moment of discovery that closed the distance between our lost human past and our present.

source

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also on vimeo without subtitles here

Lecture: John Phillips 'Limited Imagination'

Lecture by John Phillips 'Limited Imagination'
@ Edinburgh Printmakers

From 31 January 2013

"At the heart of contemporary printmaking sits a glaring contradiction. Twisting common ubiquity into elitist rarity, practitioners who create limited editions almost universally celebrate print's democratic availability.

John Phillips, director of London Print Studio, will explore how and why this dilemma arose, and ask if, given changes to production and distribution wrought by new media, it is likely to remain in the future."

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An illustrated discussion on the "limited edition" from a uk-centric viewpoint, as you would expect from a London based printmaker.

Talk: Mid-level Galleries in the Age of the Mega-gallery

Salon | Art Market Talk | The Place of Mid-level Galleries in the Age of the Mega-gallery
Filmed on June 13 2013 at Art Basel

Elizabeth Dee, Founder and President, Elizabeth Dee Gallery, Co-Founder and President of The Independent, New York
Edward Winkleman, Founder and President of Winkleman Gallery, New York, and Co-Founder of Moving Image Art Fair, New York/London
Moderator: Josh Baer, Art Advisor and Publisher of Baer Faxt, New York




What is a "Mid-Level Gallery"? What is a "Mega-Gallery"? How does the relationship between the artist and the gallery work? Are you as an artist getting this type of service from your gallery?

Degenerate Art

Entartete Kunst or Degenerate Art Exhibition of 1937



“DEGENERATE ART: A POWERFUL STORY OF THE NAZIS' VILIFICATION OF THE AVANT-GARDE AND THEIR ATTACK ON MODERN CULTURE,”

Directed by David Grubin and narrated by David McCullough, this program examines the infamous Entartete Kunst (degenerate art) exhibition mounted by the Nazis in Munich in 1937

(with some commentary by Robert Hughes)

"The exhibit opened in Munich and then traveled to eleven other cities in Germany and Austria. In each installation, the works were poorly hung and surrounded by graffiti and hand written labels mocking the artists and their creations. Over three million visitors attended making it the first "blockbuster" exhibition. "

====================

In Munich, Julien Bryan documented the spirited Nazi assault on modern art when he visited the infamous and popular Entartete Kunst [Degenerate Art] exhibition. This exhibition featured over 650 paintings, sculptures, prints, and books which had been confiscated from German public museums, including the works of some important 20th century artists like Marc Chagall, Wassily Kandinsky, Paul Klee, Emil Nolde, Georg Grosz, and Ernst Ludwig Kirchner. The pieces were chaotically hung with accompanying criticism and derisive text, in order to clarify to the German people what type of art was considered unacceptable. Afterwards, many works were sorted out for sale and sold at auction. Some were acquired by museums, and others by private collectors. Certain pieces were appropriated by Nazi officials and some were burned. Josef Goebbels ordered a more thorough scouring of German art collections after the exhibition, bringing the total number of modern works seized by the Nazis to over 16,000.

see original film here

======================

More informaton here
http://fcit.usf.edu/holocaust/arts/artdegen.htm

Global Art: Symposium

Symposium on Global Art in Salzburg

Salzburg, 30 June 2011, Art Media Agency (AMA).

The Swiss and Austrian departements of the International Association of Art Critics (AICA) and the Salzburg International Summer Academy of Fine Arts are hosting a symposium on global art from 29 July to 30 July 2011.

The symposium will engage with the way in which art is globalising, like all other sectors. Several questions will be approached, such as: “Does global art refer generally to art created no longer from the standpoint of western cultural superiority, but from the experience of globality and under the conditions of globalisation?” (xerem.org). Does international art exist? Does global art have an influence on contemporary art?

In spite of the steady development of Chinese art, the West has always imposed itself on the art market. For instance, Japanese contemporary art has not really spread to Western countries and African art has only recently attained recognition as an art form.

However, it is noteworthy that auction prices for Japanese art have risen since China’s domination of the art market, sparking an international interest in Asian ancient and contemporary art.

The guest speakers at the symposium will be: Nancy Adajania, Hans Belting, Bassam El Baroni, Peter Friedl, Samuel Herzog, Monica Juneja, Jitish Kallat, Maria Lind, Gerardo Mosquera, Senam Okudzeto and Simone Wille.

source
=====================

GLOBAL ARTS SYMPOSIUM:
Globalisation is generally taken to refer to an economic process. But what does this worldwide development signify for art? Are we at the beginning of a new development, which we might call global art -- and what do we understand by this? How far do the new living conditions of globality influence contemporary art? Since art has been internationally linked for centuries, is there now some new quality that distinguishes global art? How does what we might call global art relate to the debate on post-colonialism?

==================

Introduction: Hildagund Amand



==================

Hans Belting - "World art and global art. A new challenge to art history";
Lecture at the 29 July 2011 @ GLOBAL ART SYMPOSIUM 2011; ©2011 Laura Kokoshka, Salzburg International Summer Academy of Fine Arts, Hans Belting

Hans Belting, art historian, professor emeritus at the State University of Arts and Design, Karlsruhe.



==================

The remaining videos can be found on the Summer Academy site.

Art Criticism: Symposium

"I am for an Art Criticism that",
November 2012

Symposium website
http://www.wdw.nl/event/i-am-for-an-art-criticism-that/

This symposium’s title takes inspiration from artist Claes Oldenburg’s 1961 manifesto “I Am for an Art” and similarly to an art manifesto, a statement intended to shock, inspire or offend, I AM FOR AN ART CRITCISM THAT…, is a symposium that stages various live discussions with the aim to cover, and uncover, the fertile ground between the arts and journalism.

==========================================

Symposium I AM FOR AN ART CRITICISM THAT...
Witte de With Center for Contemporary Art, Rotterdam

Introduction by Defne Ayas, Director of Witte de With

Reading of Claes Oldenburg's "I am for an Art" by Adam Kleinman

Keynote lecture by Jörg Heiser "From Assange to Zuckerberg and back again: Criticism at times of the super-nerd"

Panel 1: I AM FOR AN ART CRITICISM THAT IS UNIVERSAL
Carol Yinghua Lu, Anthony Downey, Ali Akay, Anna Tilroe / Moderator: Amira Gad

Panel 2: I AM FOR AN ART CRITICISM THAT HAS A VOICE
Hrag Vartanian, Barbara Visser, Quinn Latimer, Maarten Doorman, Marc Ruyters, Ingrid Commandeur / Moderator: Vivian Sky Rehberg

Brief introduction by Adam Kleinman & Audio Screening of The Economics of Film Criticism: A Debate, Jean-Luc Godard & Pauline Kael (1981)

Statement by Defne Ayas



=========================================

Panel 3: I AM FOR AN ART CRITICISM THAT IS INDEPENDENT
Brian Kuan Wood, Domeniek Ruyters, Aimee Lin, Sven Lütticken, Ahu Antmen / Moderator: Hrag Vartanian




==========================================

Symposium I AM FOR AN ART CRITICISM THAT... Day 2
Stedelijk Museum Amsterdam

Welcome by Hendrik Folkerts

Keynote lecture by Peter de Ruiter "Don't burn after reading"

Panel: I AM FOR AN ART CRITICISM THAT IS SELF-REFLECTIVE
Birgit Donker, Carol Yinghua Lu, Ali Akay, Anthony Downey/ Moderators: Hendrik Folkerts & Amira Gad




============================================

Claes Oldenburg, I am for an art from Store Days, Documents from the Store (1961) and Ray Gun Theater (1962), selected by Claes Oldenburg and Emmett Williams, New York, 1967. Copyright Claes Oldenburg

full text here
https://www.msu.edu/course/ha/452/oldenburg.htm

The Trouble with Art Criticism: Conference

From the Institute of Contemporary Arts, London
Uploaded December 2011

The alarm bells about the crisis in art criticism have been rung many times in recent years, but what exactly is the crisis? Whilst once art criticism was passionate, polemical and judgmental, today's critics are more likely to find themselves tangled in a web of obscure language and neutrality. This Trouble With discussion panel seeks to tackle the nature of the ominous crisis in art criticism and identify what has changed, why, and whether it makes sense to look back at historic criticism for guidance.

This panel, chaired by curator and writer Teresa Gleadowe, speakers include JJ Charlesworth, associate editor at ArtReview Magazine; Adrian Searle, chief art critic of The Guardian newspaper; Melissa Gronlund; Managing Editor of Afterall journal, as well as Contributing Editor for Frieze, independent writer and curator Tom Morton.

The Trouble with Curating: Conference

From the Institute of Contemporary Arts in London
Uploaded on 20 Dec 2010

The verb to 'curate' is a recent addition to the lexicon of the art world. How has the role of the curator developed and, as the boundaries are increasingly blurred between the artist and the curator, is there a fundamental difference of position between artist and curator? Curator and writer Andrew Renton chairs the discussion with the Director of The Showroom Emily Pethick, Tate Britain Director Penelope Curtis, artist Steven Claydon and lecturer, writer and artist Pavel Buchler.

Art Market and Art Fairs

'(Art) Dealers worldwide earned about 36 percent of their sales on average through local or international art fairs in 2012, an increase of 6 percentage points from 2010, according to the European Fine Art Foundation’s Art Market Report by Arts Economics, which surveyed 6,000 dealers. '

Report (March 2013) link: http://www.tefaf.com/DesktopDefault.aspx?tabid=148&tabindex=147&postid=13221

'While some smaller dealers get better exposure by showing alongside bigger galleries at fairs, many struggle even to get past the long waiting lists for entrance into the fairs, while those that win access must work hard to recoup the costs, including the booth fee, airfares, hotels and entertainment. Just a booth can start at $15,000, go to $40,000 or so for a midsize gallery, or even $100,000 and above for a larger space. '

'Some big New York galleries then send as many as 20 employees to staff the fairs; travel, hotels and parties for collectors, as well as insurance and installation for the art, can push the cost past $300,000 for one fair alone. '


'The Arts Economics report found that sales by dealers with annual revenue of less than 500,000 euros fell 17 percent in 2012, whereas sales for dealers with annual revenue exceeding 10 million euros rose 55 percent. Worldwide, the top one-tenth of dealers account for more than 60 percent of total gallery sales above 20 billion euros. '
 
According to the Web site Galleries of New York, which collates real estate data, the number of galleries in the big art districts has declined in the past few years — galleries in West Chelsea have fallen to 282 from a peak of 364 in 2007; those in SoHo have dropped to 87 from 337 in 1995. 

full article here
http://www.nytimes.com/2013/08/22/arts/for-art-dealers-a-new-life-on-the-fair-circuit.html?pagewanted=2&src=un&feedurl=http://json8.nytimes.com/pages/arts/design/index.jsonp


Art Events September 2013:source http://www.artvista.de


Shanghai Art Fair 

SAFOTO San Antonio 

Arte Salta 

Art Gwangju 2012 

Great Sydney Antiques Fair 

Joburg Art Fair 

PETERSFIELD Antiques Fair 

Shanghai Contemporary 

Gwangju Biennale 

20/21 British Art Fair 

Berliner Liste 

Preview Berlin - The Emerging Art Fair 

Art Copenhagen 

Mediations Biennale 

Chelsea Antiques Fair 

International Art fair ART MOSCOW 

Art Amsterdam  

VIENNAFAIR  

ARTELIBRO  

BAAF Brussels Accessible Art Fair 

ARTNÎM - Nimes  

Antiques and Art at the Armory 

KIAF Korea International Art Fair 

Busan Biennial  

Biennial de São Paulo 

Illustrative 12 Berlin 

Art Platform - Los Angeles 

Taipei Biennale  

Venice Biennial  

Les Rencontres d'Arles  

OSTRALE‘012  

Contour - 6th Biennial of Moving Image 

abc art berlin contemporary  

ROMA Contemporary Art 

Painters Painting: Documentary

".... the documentary is about American painting from the end of World War II through the 1960s. Specifically it was tied to a Metropolitan Museum of Art show titled “New York Painting and Sculpture: 1940-1970″ and comes with the sub-title “A Candid History of the New York Art Scene, 1940-1970″ and supplemented with a similarly titled book. "

"One thing it is not, however, is a look at painters painting. A better title is “Painters Talking” or even “Filmmaker Filming,” given that de Antonio appears in many interview scenes along with his crew, or sometimes there is at least a microphone extended into the frame. The director, who was a prominent part of the New York art scene (as promoter rather than artist) before becoming a filmmaker at the age of 43, took on this subject in part at the suggestion of his wife at the time, Terry Brook.

It was also, while familiar ground, nothing short of a challenge for de Antonio, who was conflicted about the art. He liked the paintings and their creators were his friends, but as a Marxist social critic he saw them as “essentially manifestations of a very conservative aspect of America … part of a machine which runs this country,” because they’re bought by the wealthy and corporate and the artists then too become wealthy and occasionally even corporate. He was also critical of abstract paintings being too uninvolved, socially and politically. Of the work of his close friend Frank Stella, he would say, “Tell me the politics of a stripe…”*"

full article
http://documentarychannel.com/documentary-classics-emile-de-antonios-painters-painting-is-mistitled-and-undervalued/

From Wiki
http://en.wikipedia.org/wiki/Painters_Painting

"Artists appearing in the film include Willem de Kooning, Jasper Johns, Andy Warhol, Robert Rauschenberg, Helen Frankenthaler, Frank Stella, Barnett Newman, Hans Hofmann, Jules Olitski, Philip Pavia, Larry Poons, Robert Motherwell, and Kenneth Noland."



from Youtube
http://www.youtube.com/watch?v=pRG-QFeYg8I

Lecture: William Kentridge

Hosted by College of Fine Arts School of Visual Arts on February 28, 2011

Best known for animated films based on charcoal drawings, William Kentridge's works have propelled him into the realm of South Africa's top artists. His animations, focused on time and change, are often autobiographical, as an individual (Kentridge includes his self-portrait in many of his pieces) and as a South African (many of his works concern social and political issues). Kentridge speaks about time pre- and post-Einstein's theory of relativity and how it relates to art as part of the Seventh Annual Tim Hamill Visiting Artist Lecture series.

3D printed reproduction

" a recent installation at the Andy Warhol Museum in Pittsburgh (PA), in collaboration with Materialise, adds to the question of what it looks like when you mix 3D printing with work intended to question the value of the multiple."

http://blog.maketank.it/2013/07/dadaist-warhol-3d-printing

Cigdem Aydemir

Cigdem (pronounced 'Chidem') Aydemir is a Sydney based Australian artist of Turkish Muslim heritage.  Like a number of other artists she addresses the wearing of the Burqa and the issues facing contemporary Muslim women but she does it with a quirky Australian humour that is uniquely her own.

http://www.cigdemaydemir.net/artworks.html

See Video Showcase of works (2011 - 2012) here

=======================



"Cigdem Aydemir's Bombshell video challenges the viewer's prejudices by featuring the artist wearing a black burqa that leaves only her eyes visible.

Aydemir's outfit billows around her outstretched legs as ominous clouds move behind her. The sound of thunder or possibly bombs can also be heard.
Its a "re-creation of the iconic scene in which Marilyn Monroe stands above a subway vent from The Seven Year Itch"

Aydemir said the video explored the image and idea of the burqa as a possible terrorist threat. ''It's menacing but very beautiful at the same time,'' she said.

Aydemir's Bombshell will be announced on Thursday as the winner of the $10,000 emerging artist award of the Redlands Art Prize. The Redlands Art Prize is at the National Art School gallery in Darlinghurst from May 3 to June 1

full article here
http://www.smh.com.au/entertainment/art-and-design/monroe-as-undercover-agent-takes-top-spot-20130501-2it9z.html

+++++++++++++++++++

"Cigdem Aydemir's Extremist Activity is a series of performances that explore body politics, feminism and Islamophobia, in particular the idea of the Niqab and Burqa being a security threat. These performances, documented in both in video and photography, are about reclaiming body-space. The forms worn on the body (or rather the body worn on the forms) create and exaggerate voids whilst also parodying the proper concealment, or disclosure, of that space. Extremist Activity explores the concept of the body as an occupied space and creates a dialogue between the viewers (both in and out of the gallery) and their perceptions of this culturally, historically and politically significant garment and the women who wear them.'

full article here


Cigdem Aydemir talks about her upcoming show at A-M Gallery 28 March 2012 from A-M Gallery on Vimeo.



Performance and Q&A with Cigdem Aydemir as part of her show ‘Extremist Activity’ at A-M Gallery, Newtown, on 31 March 2012 from A-M Gallery on Vimeo.

Article about "Extremist Activity" here

=====================



"the Newtown mural of a woman in a full-face Muslim covering with a strike symbol over her face and the words ''Say No to the Burqa'' is the subject of an anti-discrimination complaint.

Cigdem Aydemir, 27, a Muslim, artist and high-school art teacher, said she felt ''completely offended and insulted'' when she saw the mural pop up in her neighbourhood."

full article here
http://www.smh.com.au/nsw/complaint-lodged-over-burqa-mural-20101125-18967.html

=======================


Hair / Veil (2011) from Cigdem Aydemir on Vimeo.

e-flux Journal

Read e-flux journal here

http://www.e-flux.com/journals/

Carlos Cruz-Diez

The starting point for Cruz-Diez´s chromatic investigations is the unstable nature of colour. His work combines colour theory, science, kinetics, mechanical engineering, and the painter´s craft, and it defies easy categorization.


For more than five decades, Carlos Cruz-Diez (born 1923) has experimented intensively with the origins and optics of colour. His wide-ranging body of work includes unconventional colour structures, light environments, street interventions, architectural integration projects, and experimental works that engage the response of the human eye while insisting on the participatory nature of colour.
http://www.mfah.org/exhibitions/past/carlos-cruz-diez-color-space/


Carlos Cruz-Diez: Colour in Space and Time features more than 150 works created from the 1940s to today, including paintings, silk-screen prints, and innovative chromatic structures; room-size chromatic environments, architectural models, and videos; and a virtual re-creation of the artist´s studio. The exhibition introduces international audiences to Cruz-Diez´s extensive production and places his theoretical and artistic contributions to 20th-century Modernism in a broader context than they have traditionally been seen. This exhibition was organized by the Museum of Fine Arts, Houston, and the Cruz-Diez Foundation, Houston. February 6, 2011
- July 4, 2011


Carlos Cruz-Diez: Color in Space and Time Virtual Tour from Carlos Cruz-Diez on Vimeo.

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Carlos Cruz-Diez: El color en el espacio y en el tiempo at Museo Universitario Arte Contemporáneo - MUAC in Mexico City runs until February 10, 2013.


 

Impact 8

28th August – 1st September 2013

Print Festival Scotland


Impact 8 International Printmaking Conference:
A celebration of interdisciplinarity and exploration through the medium of print.

The eighth Impact international conference will be hosted in Dundee as a central element to the inaugural Print Festival Scotland – an event which aims to confirm the cultural diversity, historical significance and future potential of print.

Foregrounding the inherent experimental and interdisciplinary nature of print practices Impact 8 will provide a critical and interactive platform for the varied interests that make print such a unique discipline.  From its hybrid roots in industry and scholarship, through traditional design applications and fine art practices to it’s consistent significance within emerging technologies and theoretical debate – print continues to play a crucial role in the exploration of borders and crossings – be they geographical, ideological, cultural, theoretical or practical.


 http://www.conf.dundee.ac.uk/impact8/home/

The NEW Shock of the New

The New Shock of the New

Robert Hughes

The Printed Image in China

Clarissa von Spee, curator, Chinese and Central Asian collections, Department of Asia, The British Museum

Delve into the history of printing and papermaking—invented in China centuries before it was known in Europe—and gain further insight into The Printed Image in China, 8th--21st Century, an exhibition presenting over 130 Chinese prints from the British Museum's comprehensive collection. Works discussed include Buddhist prints from the Silk Road, colorful images used in folk rituals and festivals, imperial engravings, antiwar images from the Modern Woodcut Movement, and internationally acclaimed contemporary prints.

The Printed Image in China, 8th--21st Century

May 5--July 29, 2012 at The Metropolitan Museum of Art

Learn more: http://www.metmuseum.org/exhibitions/listings/2012/printed-image-in-china

The exhibition was organized by the British Museum with the support of the American Friends of the British Museum.

According to current scholarship, printing on paper was invented in China about 700 A.D., making China the country with the longest history of printing in the world.

Exhibition Themes

• Printing and the Spread of Buddhism
• Popularizing Elite Culture
• Printing at the Qing Court
• Popular Prints
• Prints in the Post-1949 Era
• Prints in the Post–Cultural Revolution Era
• Contemporary Prints
• Printing Techniques
  
  View All >

Modern Art

Modern Art - A Complete Guide 1974
Narrated by Orsen Welles
With cameos from Robert Hughes, Peggy Guggenheim, Suzi Gablik and numerous artists of the moderns. Imaginative music score. Though now dated, this documentary is not to be missed.
1hr 40mins



http://www.youtube.com/watch?v=Uz0tJKRfaoA&feature=related