Almost 60 years ago the São Paulo Art Biennial was founded to introduce contemporary art from North America and Western Europe to Brazil, with the aim of transforming the South American metropolis into an international art center.
Through recent collaborations with celebrated artists, the French luxury fashion brand Louis Vuitton has sought to make its name synonymous with cutting-edge contemporary art. In 2007, Richard Prince’s Nurse paintings (2002–06), based on covers of pulp novels, inspired the outfits and attitude of a Vuitton runway collection.
Recent months have witnessed unprecedented enthusiasm for Indian art on the auction block. On June 9, a dedicated sale at Christie’s London realized twice its asking prices for 152 works by the celebrated Indian modern master FN Souza, while its June 10 South Asian Modern + Contemporary Art sale yielded an impressive GBP 2.4 million (including buyer’s premium) for Saurashtra (1983), a large acrylic-on-canvas by SH Raza.
Profound breaches of human rights continue to define the systematic, legally questionable mass evictions and demolitions that began in November 2009 in the art zones of Beijing’s northeastern Chaoyang district.
A two-faced specter of fear and greed is haunting China’s art world: a government afraid to consecrate its modern heritage by including avant-garde art—critical of the system—in public collections; and mercenary dealers who value the RMB over art, knowledge and human relationships.
An exhibition of Japanese Art Brut in Paris contributes to the evolving discourse of art by the mentally ill.
Hongjohn Lin and Tirdad Zolghadr aim to make the Taipei Biennial more than a short-lived spectacle.
A photographer who captured the rawness of Japan’s social and political upheavals during the 1960s and 1970s turns his lens to the open expanse of a foreign landscape.
As one of the pioneers of modern Indian art turns 95 this year, he finds refuge and sponsorship abroad while right-wing critics denounce his paintings at home.
When Mo Yi moved from the wide plains of Tibet to the industrial northeastern China port city of Tianjin in 1982, he was confronted with an urban condition so alienating that he decided to initiate an art practice dedicated to understanding his feelings toward it.
Consistently used throughout history, icons continue to dominate our visual landscape. With much wit and whimsy, Fahd Burki, a 28-year-old recent graduate of London’s Royal Academy of Art, explores the artistic potential of such powerful images in his first solo exhibition in Dubai.
The tactile, craft-oriented sculpture of New Delhi-based Bharti Kher has had a significant impact on the global art world since the artist moved to India from England in 1993.
Ai Weiwei maintains a classic love-hate relationship with clay: on-and-off, ecstatic and tortured. “Ceramics is kind of crazy,” he once claimed, but “if you hate something too much, you have to do it.