With the advent of Google, Wikipedia, reality television and the global embrace of an easy-share, watered-down aesthetic in everything from architecture to graphic design, so-called innovations that attempt to connect the world and make it seem smaller also raise the question of what constitutes “collective memory.”
The May 5 opening of Australian photographer Bill Henson’s latest exhibition at the Roslyn Oxley9 gallery in Sydney’s chic Paddington suburb proved to be a gently congratulatory affair.
Israeli film and video artist Yael Bartana, renowned for her culturally incisive video works that examine the geopolitics of her native Israel, won the highly coveted GBP 40,000 (USD 59,000) Artes Mundi Prize at the National Museum Cardiff in Wales on May 19.
Japanese conceptual artist, architect and poet Shusaku Arakawa, who with his wife, American artist Madeline Gins, was renowned for exploring architecture’s influence on human health, died in Manhattan on May 18 after a short stay in hospital. Gins declined to release the cause of death.
Two months of public discussions in the Asian art world reveal a percolating collective interest in “the archive” as a creative and cultural tool.
One of India’s most prominent graphic novelists refines his visual style as he delves into the narratives of his homeland.
A two-decade project to revive a local economy with contemporary art culminates in an international festival.
From wooden reading rooms to cold, glassy installations, an artist adapts the vernacular architecture of rural America to reflect on communal space and political alienation.
Bruce Yonemoto’s “North South East West” aimed to explore and expand on the histories we learn from books and our elders. Just four works spread over two gallery floors conveyed the complex set of familial relationships, international exchanges and national identities that guided the exhibition’s revelation of hidden histories.
“A Room of One’s Own,” an all-female exhibition of five young Turkish artists and an artists’ collective, was inspired by Virginia Woolf’s 1929 argument that “a woman must have money and a room of her own if she is to write fiction.”
Between 1954 and 1972, the Japanese avant-garde art movement Gutai (meaning “concrete” or “embodiment”) challenged traditional artistic media through spectacularly orchestrated exhibitions.
Yin Xiuzhen creates sculptures from the detritus of urban living to relate personal narratives with larger commentaries on the march of Chinese civilization and its excesses.