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NEWS

Market Thrives for Kerry James Marshall

June 19th, 2018

Kerry James Marshall, via NPRThe Art Newspaper looks at the thriving popularity of the work of Kerry James Marshall, after a record-breaking auction price drove new interest in his work, and a rampant demand for pieces, including those about to go on view at a show at David Zwirner’s London location. “We might not even keep a waiting list for the exhibition,” Zwirner says. “It’s going to be very hard to get a painting from that show, that’s for sure.”
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Theaster Gates Asks Collectors: “Support Artists That Live in Your Cities”

June 19th, 2018

Theaster Gates, via The GuardianTheaster Gates made a statement on supporting young artists in remarks last night at a party in Basel, asking collectors to support young artists making and selling their work. “You guys, I know that I’m the byproduct of people saying yes when they didn’t know me, saying yes at my potential and the possibility of the thing,” he said. “Throwing small dinners with me with five people that has turned into dinners for 200. I’m just grateful.”
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Art Newspaper Looks at Costs and Rewards of Major Art Prizes

June 19th, 2018

Glasgow-born artist Susan Philipsz is congratulated by friends and family after hearing that she has won the Turner Prize 2010, at the Tate Britain gallery, in central LondonA piece in Art Newspaper this week asks if arts awards really carry many of the benefits for winners that they claim, looking at a range of examples including a recent protest by a group of artists nominated for Germany’s Berlin Nationalgalerie Prize. “There is an unspoken assumption that the participants are likely to be remunerated by the market as a result of being nominated for or winning the prize,” the artists nominated for this prize said in an open statement. “We know that this is not always the case. The logic of artists working for exposure feeds directly into the normalization of the unregulated pay structures ubiquitous in the art field.”
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REFERENCE LIBRARY

Cai Guo-Qiang

Cai Guo-Qiang, via honoluluacademy.org

b. 1957 in Quanzhou City, Fujian Province, China

Education:
Shanghai Drama Institute, 1981-1985
Institute for Contemporary Art: The National and International Studio Program at P.S. 1, New York

Awards:
– Finalist, 1996 Hugo Boss Prize
– 1999 Golden Lion at the 48th Venice Biennale
– 2001 Cal Arts/Alpert Award
– 2005 Best Monographic Museum Show, Best Installation or Single Work in a Museum from International Association Of Art Critics, New England
– 7th Hiroshima Art Prize

Drawing For Transient Rainbow, Cai Guo-Qiang, 2003 via momahildawa.blogspot.com

Cai Guo-Qiang began working with gunpowder as a medium while living in Japan from 1986-1995, resulting in his signature set of drawings, Projects for Extraterrestrials. His work is often politically charged, and he used gunpowder as a way to express the supression he felt in China’s social environment at the time.

Guggenheim exhibit, Cai Guo-Qiang, 2008 via marnsarts.blogspot.com

Inopportune (Stage One), Cai Guo-Qiang, 2004 via nycdailyphoto.blogspot.com

Cai draws on a wide variety of materials, symbols, narratives, and traditions—elements of feng shui, Chinese medicine and philosophy, images of dragons and tigers, roller coasters, computers, vending machines, and gunpowder. Since September 11th, he has reflected upon his use of explosives both as metaphor and material. “Why is it important,” he asks, “to make these violent explosions beautiful? Because the artist, like an alchemist, has the ability to transform certain energies, using poison against poison, using dirt and getting gold.”

[PBS Art 21]

Light Cycle, Cai Guo-Qiang, 2003 via symposiumc6.org

Artist Homepage

Wikipedia Entry

More info about the artist coming soon.

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